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Rather than using a conventional voice-over, a multitude of voices are heard, Louise and her various friends and co-workers, which according to Mulvey is intended to as "a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional ...
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
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]
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 ...
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.
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.
n November 1954, 29-year-old Sammy Davis Jr. was driving to Hollywood when a car crash left his eye mangled beyond repair. Doubting his potential as a one-eyed entertainer, the burgeoning performer sought a solution at the same venerable institution where other misfortunate starlets had gone to fill their vacant sockets: Mager & Gougelman, a family-owned business in New York City that has ...
In particular, scholars like Laura Mulvey have analyzed Sherman's Untitled series in relation to the male gaze. In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of different voyeurisms captured by the ...