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The film experienced a quiet theatrical run, but it had regular television airings in the late 1970s. Among the film's admirers was Roger Ebert, who wrote in his review, the movie "has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all.
Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by second-wave feminism and brought about around the 1970s in the United States. With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back ...
Barbara Creed FAHA (born 30 September 1943) is a professor of cinema studies in the School of Culture and Communication at the University of Melbourne.She is the author of six books on gender, feminist film theory, and the horror genre. [1]
Within her essay, Mulvey discusses several different types of spectatorship that occur while viewing a film. Viewing a film involves unconsciously or semi-consciously engaging the typical societal roles of men and women. The "three different looks", as they are referred to, explain just exactly how films are viewed in relation to phallocentrism.
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 ...
Her main academic areas of interest are: film history, film genre, melodrama, pornography, feminist theory and visual culture; all with an emphasis on women, gender, race, and sexuality. [ 1 ] With respect to film genres, she argues that horror, melodrama, and pornography all fall into the category of "body genres", since they are each designed ...
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.
"Warrior Maidens and Other Sons", Journal of English and Germanic Philology, 85 (1986), 35–49. " Vǫlsunga saga and the Missing Lai of Marie de France’, in Sagnaskemmtun: Studies in Honour of Hermann Pálsson on his 65th Birthday, 26th May 1986 , ed. by Rudolf Simek, Jónas Kristjánsson and Hans Bekker-Nielsen, Philologica Germanica, 8 ...