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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 .
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]
Mulvey discussed aspects of voyeurism and fetishism in the male gaze in her article, "Visual Pleasure and Narrative Cinema".She drew from Alfred Hitchcock's 1954 film, Rear Window, applying terms from Sigmund Freud's theories of psychoanalysis to discuss camera angle, narrative choice, and props in the movie while focusing on the concept of the male gaze.
Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by second-wave feminism and brought about around the 1970s in the United States. With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back ...
Male gaze theory, popularized by Laura Mulvey, is a concept many feminist film critics have pointed to in classical Hollywood film-making. Laura Mulvey's theory on the Male Gaze describes how viewers respond to visual content. The term "male gaze" describes a sexualized form of seeing that allows men to objectify women.
Prominent feminist film theorist Laura Mulvey. Feminist film theorist Laura Mulvey writes that in film, women are passive objects of the male gaze. [22] Mulvey writes that movies fulfill "a primordial wish for pleasurable looking," and that male audiences are largely catered to in the film industry. [22]
The“Barbie” movie has triggered discussions over patriarchy and feminism in China where there is awareness of gender inequality but also a social backlash.
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 ...