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Feminization of the male gaze. In the essay, "Medusa and the Female Gaze" (1990), [38] Susan Bowers explores the Medusa theory about the feminization of the male gaze, that women who assume the female gaze are societally perceived as psychologically dangerous women, because men both desire and fear the gaze that sexually objectifies a man in ...
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]
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 ...
In her 1992 essay titled "The Oppositional Gaze: Black Female Spectatorship", [25] bell hooks counters Laura Mulvey's notion of the (male) gaze by introducing the oppositional gaze of Black women. This concept exists as the reciprocal of the normative white spectator gaze.
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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 ...
“It’s the male gaze. If I was making a story that was about that journey of motherhood and body acceptance, I feel like, I’m sorry, but that would have to be with a female filmmaker ...
Creed argues that within horror films, the male gaze is oftentimes the central focus. [4] Mis]conceptions of female sexuality are inherent within the horror genre, as a common motif is that virtuous or "pure" women survive to the end of the film, and women who exhibit sexual behaviour commonly die early into the narrative.