Search results
Results from the WOW.Com Content Network
Laura Mulvey (born 15 August 1941) [1] is a British feminist film theorist and filmmaker. ... Mulvey, Laura (Autumn 1975). "Visual pleasure and narrative cinema".
In Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema", [12] [16] [17] she presents, explains, and develops the cinematic concept of the male gaze. Mulvey proposes that sexual inequality — the asymmetry of social and political power between men and women — is a controlling social force in the cinematic representations of
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.
Mulvey also asserts that the dominance men embody is only so because women exist, as without a woman for comparison, a man and his supremacy as the controller of visual pleasure are insignificant. For Mulvey, it is the presence of the female that defines the patriarchal order of society as well as the male psychology of thought.
Laura Mulvey (1975). Visual Pleasure and Narrative Cinema. Screen 16:3. Online version. E. Ann Kaplan (1979). Avant-Garde Feminist Cinema: Mulvey and Wollen's Riddles of the Sphinx. Quarterly Review of Film Studies IV:2. Geoffrey Nowell-Smith (1977). Riddles of the Sphinx. Sight and Sound XLVI:3.
The oppositional gaze is direct rejection of Laura Mulvey's Visual Pleasure and Narrative Cinema (1975). [1] Mulvey's text analyses Lacan's mirror stage within film, concluding that subjectivity is "the birth of the long love affair/ despair between image and self-image which has found such intensity of expression in film and such joyous recognition in the cinema audience". [3]
It published many articles that have become standards in the field—including Laura Mulvey's seminal work, "Visual Pleasure and Narrative Cinema" (1975). [1] It is still highly regarded in academic circles. Screen theory, a Marxist-psychoanalytic film theory that came to prominence in Britain in the early 1970s, took its name from Screen. [2]
Laura Mulvey, a British film critic and feminist, similarly critiqued traditional media representations of the female character in cinema. [9] In her 1975 essay Visual Pleasure and Narrative Cinema, Mulvey discusses the association between activity and passivity to gender.