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Laura Mulvey (born 15 August 1941) [1] is a British feminist film theorist and filmmaker. She was educated at St Hilda's College, Oxford . She is currently professor of film and media studies at Birkbeck, University of London .
The concept was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, Visual Pleasure and Narrative Cinema. Mulvey's theory draws on historical precedents, such as the depiction of women in European oil paintings from the Renaissance period, where the female form was often idealized and presented from a voyeuristic ...
In their 2016 Toronto International Film Festival Masterclass, Soloway outlined three key concepts in their theory of the female gaze: "feeling seeing," "the gazed gaze," and "returning the gaze." [20] These three key concepts can be easily contrasted with the three looks of Laura Mulvey's Gaze. In film and media, 'feeling seeing' refers to a ...
While Laura Mulvey's paper has a particular place in the feminist film theory, it is important to note that her ideas regarding ways of watching the cinema (from the voyeuristic element to the feelings of identification) are important to some feminist film theorists in terms of defining spectatorship from the psychoanalytical viewpoint.
Feminist theory is the extension of feminism into theoretical, fictional, or philosophical discourse. ... Many feminist film critics, such as Laura Mulvey, ...
Laura Mulvey, a British film critic and feminist, similarly critiqued traditional media representations of the female character in cinema. [9] In her 1975 essay Visual Pleasure and Narrative Cinema, Mulvey discusses the association between activity and passivity to gender.
In her writing on feminist film theory, Mulvey has argued that, if the dominant cinema produces pleasure through scopophilia which favours the male gaze and festishization of woman as object, then alternative versions of cinema need to construct different forms of pleasure based on psychic relations that adopt a feminist perspective. [4]
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]