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Mulvey incorporates the Freudian idea of phallocentrism into "Visual Pleasure and Narrative Cinema". Using Freud's thoughts, Mulvey insists on the idea that the images, characters, plots and stories, and dialogues in films are inadvertently built on the ideals of patriarchies, both within and beyond sexual contexts.
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
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.
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.
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]
British feminist film theorist, Laura Mulvey, best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal, Screen [4] was influenced by the theories of Sigmund Freud and Jacques Lacan.
The "male gaze," a term coined by Laura Mulvey in "Visual Pleasure and Narrative Cinema", describes the depiction of female characters in a sexualized, de-humanizing manner. Mulvey states that, because the media depict women as they are observed through the male gaze, women tend to take on this male perspective.
The Two Works series engages with the visual artwork’s potential for productive encounter with text, putting a contemporary artist in dialogue with a critical text of historical significance. Two Works include: Mulvey, Laura and Rose, Rachel (2016). Visual Pleasure and Narrative Cinema. [7] Du Bois, W. E. B. and Quarles, Christina (2021).