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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
In her writing on feminist film theory, Mulvey has argued that, if the dominant cinema produces pleasure through scopophilia which favours the male gaze and festishization of woman as object, then alternative versions of cinema need to construct different forms of pleasure based on psychic relations that adopt a feminist perspective. [4]
Women are presented to heterosexual men in a sexualized fashion as objects of desire. For the male viewer, the sexualization of women occurs in visual media that responds to male voyeurism. According to Mulvey, the theory refers to the "to-be-looked-at-ness" of film. The male is the "carrier of the look," and the female is the "spectacle."
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. [23]
Noël Carroll references Mulvey's pivotal paper on psychoanalysis and visual pleasure in his writing, and plays devil's advocate to her claim that women are the only subjects of gaze. Carroll acknowledges and agrees with Mulvey's assessment that women in film are strategically placed for the male gaze despite the role of their actual character.
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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 20-year-old international model made headlines at the 2017 Cannes Film Festival for two major wardrobe whoops moments. One time, she seemingly flashed her underwear in strapless dress with a ...