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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 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 ]
The oppositional gaze: The academic bell hooks developed male-gaze theory to account for the exclusion and invisibility of black women from the male gaze and idealized white womanhood. In the essay "The Oppositional Gaze: Black Female Spectators" (1997), [ 40 ] the academic bell hooks said that black women are placed outside the "pleasure 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.
Externalizing disorders often involve emotion dysregulation problems and impulsivity that are manifested as antisocial behavior and aggression in opposition to authority, societal norms, and often violate the rights of others.
Women Without Men is a 2009 film adaptation of the 1990 Shahrnush Parsipur novel, directed by Shirin Neshat. [1] [2] Neshat's work explores gender issues in the Islamic world.
The political (rather than analytic or conceptual) critique of binary oppositions is an important part of third wave feminism, post-colonialism, post-anarchism, and critical race theory, which argue that the perceived binary dichotomy between man/woman, civilized/uncivilised, and white/black have perpetuated and legitimized societal power structures favoring a specific majority.
In the psychoanalytic theory of Jacques Lacan, objet petit a stands for the unattainable object of desire, the "a" being the small other ("autre"), a projection or reflection of the ego made to symbolise otherness, like a specular image, as opposed to the big Other (always capitalised as "A") which represents otherness itself.