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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 ...
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 focus of hooks' writing was to explore the intersectionality of race, capitalism, and gender, and what she described as their ability to produce and perpetuate systems of oppression and class domination. She published around 40 books, including works that ranged from essays, poetry, and children's books.
The existentialist philosopher Jean-Paul Sartre introduced the concept of the gaze [a] in his 1943 book Being and Nothingness; the idea is that the act of gazing at another human being creates a subjective power difference, which is felt both by the "gazer" and by the "gazed", because the person being gazed at is objectified – perceived as an object, not as a human being.
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.
The Pulitzer prize-winning play Fairview, by Jackie Sibblies Drury, focuses on the white gaze; the play's title is a play on the phrase. [6] Hannah Miao, reviewing it, describes the White gaze as "being watched from a lens of otherness that is sometimes violently obvious, and sometimes so subtle that you find yourself wondering whether you made it up entirely.
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]
In "The African Gaze: Photography, Cinema and Power," image makers become architects of their own lives.