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Conceptually, the female gaze is like the male gaze, the action by which women view men and women, and themselves, from the perspective of a heterosexual man. [13] The unequal social power of the male gaze is a conscious and subconscious effort to develop, establish, and maintain a sexual order of gender inequality in a patriarchal society.
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]
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]
Male gaze theory, popularized by Laura Mulvey, is a concept many feminist film critics have pointed to in classical Hollywood film-making. Laura Mulvey's theory on the Male Gaze describes how viewers respond to visual content. The term "male gaze" describes a sexualized form of seeing that allows men to objectify women.
This third perspective allows the male audience to take the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film. [23]: 28 In the paper, Mulvey calls for a destruction of modern film structure as the only way to free women from their sexual objectification in film.
The series has had a lasting influence, and in particular introduced the concept of the male gaze, as part of Berger's analysis of the treatment of the nude in European painting. It soon became popular among feminists , including the British film critic Laura Mulvey , who used it to critique traditional media representations of the female ...
The term "female gaze" was created as a response to the proposed concept of the male gaze as coined by Laura Mulvey. In particular, it is a rebellion against the viewership censored to an only masculine lens and feminine desire regardless of the viewer's gender identity or sexual orientation. [13] In essence, the forced desire of femininity ...
[21] [22] Yet voyeurism and the male gaze are psychological practices basic to the spectators' emotional experience of viewing mainstream, commercial cinema; [23] notably, the male gaze is fully presented, described, and explained, and contrasted with the female gaze, in the essay "Visual Pleasure and Narrative Cinema" (1975), by Laura Mulvey. [24]