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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
Regarding Mulvey's view of the identity of the gaze, some authors questioned "Visual Pleasure and Narrative Cinema" on the matter of whether the gaze is really always male. Mulvey does not acknowledge a protagonist and a spectator other than a heterosexual male, failing to consider a woman or homosexual as the gaze. [ 13 ]
The series has had a lasting influence, and in particular introduced the concept of the male gaze, as part of Berger's analysis of the treatment of the nude in European painting. It soon became popular among feminists , including the British film critic Laura Mulvey , who used it to critique traditional media representations of the female ...
The term "female gaze" was created as a response to the proposed concept of the male gaze as coined by Laura Mulvey. In particular, it is a rebellion against the viewership censored to an only masculine lens and feminine desire regardless of the viewer's gender identity or sexual orientation. [13] In essence, the forced desire of femininity ...
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.
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 "male gaze," a term coined by Laura Mulvey in "Visual Pleasure and Narrative Cinema", describes the depiction of female characters in a sexualized, de-humanizing manner. Mulvey states that, because the media depict women as they are observed through the male gaze, women tend to take on this male perspective.
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.