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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]
Conceptually, the female gaze is like the male gaze, the action by which women view men and women, and themselves, from the perspective of a heterosexual man. [13] The unequal social power of the male gaze is a conscious and subconscious effort to develop, establish, and maintain a sexual order of gender inequality in a patriarchal society.
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]
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.
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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 ...
Natalie Portman may be an outspoken feminist and co-founder of a female-driven soccer club (Angel City FC), but she isn’t a believer in the so-called “female gaze.” In an interview with ...
Laura Mulvey's 1975 essay, "Visual Pleasure and Narrative Cinema" focuses on the gaze of the spectator from a Freudian perspective. Freud's concept of scopophilia relates to the objectification of women in art works. The gaze of the viewer is, in essence, a sexually charged instinct. [17]