cinema, representation of femininity in cinematic discourse, and construction of desiring female spectator. Though this work has had profound effect on me intellectually, when I use it to at myself looking at my favorite movies, I find that my subjective experience as a spectator is not adequately accounted for. I look as a lesbian-feminist, trained as a sociologist who scrutinizes ideology as it informs gender consciousness. The feminist discourse is psychoanalytically grounded, focused on narrative cinema's address to dynamics of unconscious. While this work is critical of a phallocratic system, its reliance on Freudian theory makes it unwillingly complicit in reproduction of categories of heterosexuality that are foundational to this system. A corrective to this discourse, one that would better account for conscious spectatorship, is necessary. I will argue that Adrienne Rich's concept, lesbian continuum, used as a basis for reading, provides necessary corrective. It is assumed that with exception of women's pictures, the cinema constructs its spectator as generic 'he' of language (Doane 3). It contains built-in patterns of pleasure and identity that impose masculinity as point-of-view (Mulvey 29). The positions adopted by spectator are understood to be basic, unconscious positions that establish readability of cinematic