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Rather than using a conventional voice-over, a multitude of voices are heard, Louise and her various friends and co-workers, which according to Mulvey is intended to as "a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional ...
In Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema", [12] [16] [17] she presents, explains, and develops the cinematic concept of the male gaze. Mulvey proposes that sexual inequality — the asymmetry of social and political power between men and women — is a controlling social force in the cinematic representations of
Furthermore, as regards the fetishistic mode of the male gaze as suggested by Mulvey, this is one way in which the threat of castration is solved. According to Mulvey, the paradox of the image of ‘woman’ is that although they stand for attraction and seduction, they also stand for the lack of the phallus, which results in castration anxiety ...
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Mulvey also asserts that the dominance men embody is only so because women exist, as without a woman for comparison, a man and his supremacy as the controller of visual pleasure are insignificant. For Mulvey, it is the presence of the female that defines the patriarchal order of society as well as the male psychology of thought.
In the early 1970s, Christian Metz and Laura Mulvey separately explored aspects of the "gaze" in the cinema, Metz stressing the viewer's identification with the camera's vision, [8] - an identification largely "constructed" by the film itself [9] - and Mulvey the fetishistic aspects of (especially) the male viewer's regard for the onscreen female body.
Natalie Portman may be an outspoken feminist and co-founder of a female-driven soccer club (Angel City FC), but she isn’t a believer in the so-called “female gaze.” In an interview with ...
The oppositional gaze is direct rejection of Laura Mulvey's Visual Pleasure and Narrative Cinema (1975). [1] Mulvey's text analyses Lacan's mirror stage within film, concluding that subjectivity is "the birth of the long love affair/ despair between image and self-image which has found such intensity of expression in film and such joyous recognition in the cinema audience". [3]