Figure 1. Susanna`s (Winona Ryder) narrative silences

Not a Dirty Secret • 149
tive nature of the disorders that necessitates performative reinscription and deinscription of corporeality; the disorders’ relation
to questions of power; and their epidemic nature. These eating
disorders, unique both in their bodiliness anniii g2(n)14(i)go orsing
Not a Dirty Secret • 1513ch-67(t)]QreW n0 0 0
dualities are seemingly dependent on the gaze. Accordingly, it is
clear that the bulimic body — in contrast to the female body in
pregnancy — remains devoid of all physical capital. Ursula’s body
is the female body of the second generation in Germany, which
declares — via BN — the mothers’ generation to be perpetrators
because of their denial of the past, and which does not see them as
bulimic girl who is a victim of incest (Daisy) and the supposedly
reckless psychotic girl (Lisa) is negative. Both are punished, one by
suicide, the other by electric-shock therapy and ongoing hospitalization. In complete contrast, the text accepts Susanna as a “good
girl” who recovers from reckless sexual behavior in the past and
accepts that ju29(i)2r(o)16(l)27(o)25(a)13(t)13uoa c-(k)-23(t)13stc i srhe-16(l)17(c)10
Not a Dirty Secret • 165
Summary: The Cinematic Nature of Bulimia Nervosa
Despite the differences among these films, they all create an alternative discourse that transforms the cinema’s common construal
of the female body as a pleasurable body. The international cinema continues to privilege a nonspecific female body as the object
chts1pfatsion
Not a Dirty Secret • 167
The Mirror Stage: Subject without Body
The topic of the repression of the corporeal body from the mirror
stage starts with the laws of the physics of the mirror and the laws
of the physiology of the human eye. As we know, and as the illustration pictured here demonstrates, the object and its reflection
cannot be superimposed onto each other since in the mirror the
left e t 1p(t)3(e)7()-72(e )2(t)4( )tht 3shteae2(t)4(
e e mtt e i)7(t)lt7e tte t ae2(t)4( p)28r n
and R-3, respectively, and the light reflected from his or her head,
which is facing the mirror. His or her eyes, therefore, build the
image behind 5-1( )-24(i 0 0 9.7 78 89(i)-20r(5-1(r(514(o)3(r)-2 0 9.7p)21(l))13(a))26