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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.
The early work of Marjorie Rosen and Molly Haskell on the representation of women in film was part of a movement to depict women more realistically, both in documentaries and narrative cinema. The growing female presence in the film industry was seen as a positive step toward realizing this goal, by drawing attention to feminist issues and ...
From film to TV, music and literature, the female gaze has been promoted wholesale without shame, secrecy or euphemism. Here are some highlights from 2024. The sound of desire
Berger described the difference between how men and women view and are viewed in art and in society. He asserts that men are placed into the role as the watcher and women are to be looked at. [8] Laura Mulvey, a British film critic and feminist, similarly critiqued traditional media representations of the female character in cinema. [9]
Natalie Portman may be an outspoken feminist and co-founder of a female-driven soccer club (Angel City FC), but she isn’t a believer in the so-called “female gaze.” In an interview with ...
AMY! was a film tribute to Amy Johnson and explores the previous themes of Mulvey and Wollen's past films. One of the main themes of the film is that women "struggling towards achievement in the public sphere" must transition between the male and female worlds. [20] Crystal Gazing exemplified more spontaneous filmmaking than their past films ...
Johanson analysis, developed by film critic MaryAnn Johanson, provides a method to evaluate the representation of women and girls in fiction. The analysis evaluates media on criteria that include the basic representation of women, female agency, power and authority, the male gaze, and issues of gender and sexuality.
While developing documentaries, features, and movies for television, Dirse pursued a master's degree in Fine Arts degree at York University. [3] During her time at York, a lecture she gave at a conference in 2003 resulted in her theory of the female gaze in film being published in Women Filmmakers: Refocusing. [3]