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The oppositional gaze is a term coined by bell hooks the 1992 essay The Oppositional Gaze: Black Female Spectators that refers to the power of looking. According to hooks, an oppositional gaze is a way that a Black person in a subordinate position communicates their status. hooks' essay is a work of feminist film theory that discusses the male gaze, Michel Foucault, and white feminism in film ...
In her 1992 essay titled "The Oppositional Gaze: Black Female Spectatorship", [25] bell hooks counters Laura Mulvey's notion of the (male) gaze by introducing the oppositional gaze of Black women. This concept exists as the reciprocal of the normative white spectator gaze.
Gloria Jean Watkins (September 25, 1952 – December 15, 2021), better known by her pen name bell hooks (stylized in lowercase), [1] was an American author, theorist, educator, and social critic who was a Distinguished Professor in Residence at Berea College. [2]
Feminization of the male gaze. In the essay, "Medusa and the Female Gaze" (1990), [38] Susan Bowers explores the Medusa theory about the feminization of the male gaze, that women who assume the female gaze are societally perceived as psychologically dangerous women, because men both desire and fear the gaze that sexually objectifies a man in ...
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.
The “oppositional gaze” is a response to Mulvey's visual pleasure and states that just as women do not identify with female characters that are not "real," women of color should respond similarly to the one denominational caricatures of black women. [30]
Confrontational gaze and oppositional gaze [ edit ] In Lorraine O'Grady 's essay "Olympia's Maid: Reclaiming Black Female Subjectivity", [ 22 ] she asserts, "Olympia's maid, like all other 'peripheral Negroes ' ", is a robot conveniently made to disappear into the background drapery.
By forbidding certain kinds of marriage between kin, it ensured that other forms of marriage would take place. Strauss showed that men were principally in control of the exchange and reception of women, or a kind of kinship exchange, rather than simply a gift exchange based on principles of reciprocity (as Marcel Mauss argued in his essay, The ...