Changes

In [[film ]] and [[women]]'s studies the importation of these often strange and unfamiliar [[ideas ]] from [[Paris ]] has become almost synonymous with their establishment as [[university ]] disciplines in the 1970s. [[Lacan]]'s [[theory ]] of the [[mirror ]] [[phase ]] and the [[formation ]] of the ego (see Chapter 1) was taken by many film theorists as a [[model ]] for the [[relationship ]] between the film projected on the [[screen ]] and how this affected the film viewer or cinematic [[spectator]]. Lacan's [[complex ]] [[notion ]] of how a [[subject ]] comes to [[identify ]] themselves as an 'I' in the [[social ]] [[world ]] was seen as a useful way of [[understanding ]] how [[cinema ]] spectators identify with [[images ]] on the screen, beyond simply [[identifying ]] positive and [[negative ]] images (usually strong and positive images of men and [[passive ]] or negative images of women). Similarly, Lacan's [[development ]] of [[Freud]]'s theory of [[sexual ]] [[difference ]] (see Chapter 6) opened up new areas of debate within women's and [[gender ]] studies.