In this paper the author reflects on the creative process of her film Her Voice (2012) and describes how its sensory imagery generates an alternative image of woman, beyond the clichés encountered in classical narrative cinema. Finding one’s voice as a woman here refers to the process of identification at stake in the coming into being of woman. More specifically, it is argued that the experienced body image that is evoked in Her Voice is first, inspired by female stereotypes as displayed by icons such as Hildegard von Bingen, Lola Montez and Betty Boop and second, at the same time, through the body memories of both the author and the interpreter (L. Gruwez, the actress), these stereotypes are being dismantled.
In the early 1970s Lacan regularly referred to Gottlob Frege’s concepts Sinn and Bedeutung. Using these concepts he defined two elements of the symptom and two dimensions of analytic discourse. In this paper the author discusses how Lacan uses both concepts, and he explores how the third dimension Frege distinguishes in the sign – Vorstellung – can be situated in Lacan’s work. This discussion is situated within the broader context of Lacan’s teaching from this period and also explores the concepts speaking being, non-rapport, sexual jouissance and phallus.