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Rather than using a conventional voice-over, a multitude of voices are heard, Louise and her various friends and co-workers, which according to Mulvey is intended to as "a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional ...
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]
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
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.
Mulvey also asserts that the dominance men embody is only so because women exist, as without a woman for comparison, a man and his supremacy as the controller of visual pleasure are insignificant. For Mulvey, it is the presence of the female that defines the patriarchal order of society as well as the male psychology of thought.
In Film and the Masquerade: Theorising the Female Spectator, Doane agrees with Laura Mulvey on cinema catering to male pleasures and the male gaze. She argues that women are too close to the object of the gaze; they struggle between feminine and masculine viewing positions, “invoking the metaphor of the transvestite.” [6] As a result of ...
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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.