The paradigmatic moment of the opposition between the verbal and the visual arts may be seen in Lessing’s treatise on the Laocoön sculptural group, written in 1766; a moment that is identified within a historical framework of modern aesthetics that begins with Lessing, goes through Pater, and then culminates in Greenberg. The author delineates the opposition as a history of diffusions, displacements and idealist reparations of class division.
This pioneering book introduces the “feminine,” a dimension of film not reducible to women’s experience. Exploring this Jungian concept through movies spanning seven decades, it enhances the appreciation of film as a depth psychological medium.
