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Male-gaze theory also proposes that the male gaze is a psychological "safety valve for homoerotic tensions" among heterosexual men; in genre cinema, the psychological projection of homosexual attraction is sublimated onto the women characters of the story, to distract the spectator of the film story from noticing that homoeroticism is innate to ...
Mulvey suggests two distinct modes of the male gaze of this era: "voyeuristic" (i.e., seeing woman as image "to be looked at") and "fetishistic" (i.e., seeing woman as a substitute for "the lack", the underlying psychoanalytic fear of castration). To account for the fascination of Hollywood cinema, Mulvey employs the concept of scopophilia.
The "male gaze" is feminist theory that was first developed by Laura Mulvey in 1975. The male gaze occurs when the audience, or viewer, is put into the perspective of a heterosexual male. The male gaze occurs when the audience, or viewer, is put into the perspective of a heterosexual male.
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 site's critical consensus states "Although its subject calls for a more incisive treatment, Brainwashed: Sex-Camera-Power is a worthy primer on the male gaze in cinema." Peter Bradshaw of The Guardian calls Brainwashed "fierce and focused... a bracing blast of critical rigour, taking a clear, cool look at the unexamined assumptions behind ...
The male gaze, in feminist theory, is associated with objectifying, defining, and exploiting females into objects for sexual pleasure to be viewed. The "tourist gaze" is a way of viewing culture as a commodity and can shift tragic sites of trauma into a site that offers pleasure at the expense of others' pain, often with a consumerist goal. [9]
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