Alice Doesn't

By analyzing the fallacies of semiotic theory,Alice Doesn't, examines the critical journey of "women" in relation to image production and film. If "woman" is object and man "subject", how does this relational dynamic impact the spectator? Once "woman's" body becomes object/image, "the myth of woman" is employed to design an erotic spectacle geared towards the fetish of the male gaze.

“The sign is always a product. What the camera in fact grasps is the "natural" world of the dominant ideology. Women's cinema cannot afford such ideal­ ism; the "truth" of our oppression cannot be "captured" on celluloid with the "innocence" of the camera: it has to be constructed/ manufactured. New meanings have to be created by disrupting the fabric of the male bourgeois cinema within the text of the film.

-Claire Johnston's 1974 paper, "Women's Cinema as Counter-Cinema