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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 the television series and book Ways of Seeing (1972), the art critic John Berger used the term the male gaze to discuss and explain the sexual objectification of women in the arts and in advertising — by distinguishing that men look at and that women are looked at as the subject of an image, as a representation. Regarding the social ...
The concept of the "male gaze" was first used by the English art critic John Berger in Ways of Seeing, a series of films for the BBC aired in January 1972, and later a book, as part of his analysis of the treatment of the nude in European painting. Berger described the difference between how men and women view and are viewed in art and in society.
The female gaze is a feminist theory term referring to the gaze of the female spectator, character or director of an artistic work, but more than the gender it is an issue of representing women as subjects having agency. As such, people of any gender can create films with a female gaze.
Young men today are entering the workplace at a time when women are holding senior positions for the first time in some companies' history—and it could be the reason why Gen Z men are feeling ...
The matrixial gaze offers the female the position of a subject, not of an object, of the gaze, while deconstructing the structure of the subject itself, and offers border-time, border-space and a possibility for compassion and witnessing. Ettinger's notions articulate the links between aesthetics, ethics and trauma. [18]
The post The ‘her gaze softened’ trend has people feeling a type of way: ‘Why’d this trigger my fight or flight’ appeared first on In The Know.
Comprising 10 large-scale portraits in Sarah Ball’s signature airy colors, new exhibit “Titled” challenges gender conventions and celebrates exuberant self-expression.