In many respects Silverman's _Subject of Semiotics_ is a brilliant introductory work to post-structuralist approaches to semiotics. First, Silverman's style of exposition is exceedingly clear and provides numerous examples from literature and film to support her claims and aid the reader in discerning how structuralist principles can be applied. Moreover, Silverman displays extensive knowledge of both structural linguistics and Freudian psychoanalysis. If the book limited itself to Freud and structuralism I would unhesitatingly give it four stars, however Silverman's presentation of Lacan suffers from serious misrepresentations. For instance, in reference to Plato's myth of the three sexes, Silverman writes, "One of these assumptions [that Lacan shares with Plato] is that the human subject derives from an original whole which was divided in half, and taht its existence is dominated by the desire to recover its missing compliment. Another of these assumptions is that the division suffered by the subject was sexual in nature-- that when it was "sliced" in half, it lost the sexual androgyny it once had and was reduced to the biological dimension either of a man or a woman. This biological dimension is seen by Lacan, if not by Plato, as absolutely determining the subject's social identity. Finally, Lacan shares with Aristophanes the belief that the only resolution to the loss suffered by the subject as the consequence of sexual division is heterosexual union and procreation" (152). For those familiar with the work of Lacan, these claims are absurd. While it is true that Lacan argues that we spend our entire life looking for that missing piece of ourselves, nowhere does Lacan claim that this lack results due to biology. Moreover, for Lacan the differentiation of the sexes is not a biological fact, but a cultural fact. Finally, Lacan claims that "there is no sexual relationship", thus effectively undermining the suggestion that he believes that heterosexual love is the solution to our malaise. Now, I do not feel that Silverman is to be blamed for the assertions she here makes. _The Subject of Semiotics_ was written in 1983, when many of Lacan's seminars-- notably seminar XX on feminine sexuality --were not yet available. Consequently, there is a great deal about Lacan that she could not have known. However, in the case of a text as important as Silverman's for introductory purposes, one would expect that new editions would be written correcting claims that are blatantly false and misleading. Silverman's text is careful and thorough, yet it is important to read the materials with which she is working and not rely on her analyses as completely authorative.

To the unititiated, the world of semiotics can be daunting. Silverman's book can help. Though not an easy read for those unfamiliar with structuralism, post-structuralism and post-modern thought, the author presents the history and ideas of the most important contributers in the field. One should not, however, take her interpretations as the final word on the authors whose work she describes and interprets. Read Silverman, read the primary sources, compare, and make your own decisions. This book is absolutely necessary to those who would understand the likes of Saussure and Lacan.

Extremely useful for the student attempting to learn about Jacques Lacan, Roland Barthes, et. al. especially for the cinema student. I credit this book with getting me through several grad school film theory courses!

Even for those unfamiliar with all of Godard's films, these conversations are interesting. Although the book sometimes reads like a postmodern primer with footnote references and keyterms to all the 'right' writers of the sixties and seventies, the analysis is generally more complex and undogmatic. The scene by scene structure of each dialog also guarantees a trueness to the original "text" of the film, that is not always found in critical writing on film.

"Speaking About Godard" by Kaja Silverman and Harun Farocki will stimulate Godard afficionados into conversations about Godard's work as the authors have themselves in this book. The authors devote chapters to selected works from the French auteur's oevre analyzing and debating specific aspects of the films. They attempt to find the meaning of specific scenes in the following Godard films: "Vivre sa vie", "Le mepris"("Contempt"), "Alphaville", "Weekend", "Le gai savoir", "Numero deux", "Passion", and "Nouvelle Vague". Some film stills accompany the authors examples from the respective films. You may not always agree with their analysis, but they don't always agree with each other. Of course, Godard's films are so rich with meaning, they are open to debate. The conversational style of the book makes it a great read for those stimulated by the great filmmaker's work.

The layout of this book is interesting and accessible. It is basically an extended conversation between two fans of Godard, who just happen to be very learned in film studies/theory as well. The chapter on "Weekend" is particularly good. If you are finding yourself drawn to Godard, but do not know where to start, try this book.

Silverman's observations regarding classical Hollywood cinema constantly drive the reader beyond the complacency of a male-centered interpretation of film. Make no mistake about it, her prose is thick, but the rewards of contemplating her thoughts are there for the picking. She extends the thought of Laura Mulvey, and does so by also using the psychoanalytic method. If the reader has questions about the validity of this particular method, then he/she may question some of the ideas that are put forth. However, Mulvey's acknowledges that the psychoanalytic method itself has traditionaly bowed to the father-figure. Her intention is to raise the reader's awareness of this tendency before she begins to explore the ramifications of patriarchal society on the filmic medium. Incredibly interesting are remarks on the "disembodied voice" and its relationship to female characters that can be found in Hollywood cinema. This is the essence of what makes film an "acoustic mirror."