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Mulvey incorporates the Freudian idea of phallocentrism into "Visual Pleasure and Narrative Cinema". Using Freud's thoughts, Mulvey insists on the idea that the images, characters, plots and stories, and dialogues in films are inadvertently built on the ideals of patriarchies, both within and beyond sexual contexts.
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
British feminist film theorist, Laura Mulvey, best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal, Screen [4] was influenced by the theories of Sigmund Freud and Jacques Lacan.
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.
It published many articles that have become standards in the field—including Laura Mulvey's seminal work, "Visual Pleasure and Narrative Cinema" (1975). [1] It is still highly regarded in academic circles. Screen theory, a Marxist-psychoanalytic film theory that came to prominence in Britain in the early 1970s, took its name from Screen. [2]
As discussed in Laura Mulvey's essay "Visual Pleasure and Narrative Media," [26] within the film and media sphere, men make up the majority of directors, cinematographers, and camera crew, limiting the aspects in which the female gaze gets produced," the underrepresentation of the female perspective on screen is tied to the female ...
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]
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.