Page 153 - Decoding Culture
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146  D E C O D I N G   C U L TURE

          consistency of the deductive links between the theory and the phe­
          nomena  to  be  explained;  and  the  relative  strength  of  the
          explanation  over  other  candidates.  On  the  first  of those three,
          judgement is not possible within the bounds of Mulvey's argument
          and  remains controversial  outside  of it. The  general efficacy  of
          psychoanalytic  theory  is  by  no  means  self-evident  or  widely
           accepted,  while  the  specific  emphasis  on castration anxiety in
           Mulvey's account would be questioned by many who might other­
          wise be positively disposed to psychoanalytic explanations. On the
           second criterion, as this reconstruction demonstrates, it is possible
          to  trace  a clear  internal  logic  although  it  might  be  argued  that
           some key terms of the theory remain ambiguous, not least those
          derived directly from Lacan. The third criterion is difficult to apply
           in the absence of specific competing explanations. However, there
          would seem to be a prima f a cie case, at least, for considering alter­
           native  explanations  cast  in  terms  of  the  social  and  historical
           development of patriarchal culture which would  not necessarily
           resort to psychoanalytic concepts. In Mulvey, and in Screen theory
           more generally,  however,  such  an  alternative  is  not entertained
           and  is,  indeed,  all but inconceivable.  For although  I have repre­
           sented  her argument  here  as  only  one  candidate  explanation  of
           empirically observed features of Hollywood film, such an approach
           would be  epistemologically  alien  to  the  Screen  tradition within
          which she was working. In Screen theory, as we saw in Chapter 4,
           theories themselves construct their particular objects of analysis.
           Accordingly, Mulvey does not argue  (as I have on her behalf) that
           such-and-such  a feature of cinema can be explained  by this  (psy­
           choanalytic)  theory, although other (perhaps non-psychoanalytic)
           explanations are possible and may even be superior. That would be
           to employ an instrumental concept of 'theory', one in which com­
           peting  theories  are  assessed  in  terms  of  their  comparative
           empirical efficacy, and would be deemed unacceptable because of





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