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Mulvey states that she intends to use Freud and Lacan's concepts as a "political weapon". She employs some of their concepts to argue that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire and "the male gaze". In the ...
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]
Laura Mulvey's 1975 essay, "Visual Pleasure and Narrative Cinema" focuses on the gaze of the spectator from a Freudian perspective. Freud's concept of scopophilia relates to the objectification of women in art works. The gaze of the viewer is, in essence, a sexually charged instinct. [17]
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.
Besides, Laura Mulvey, who suggested that under the male gaze, woman has become a "passive object". [20] Other than that, Hov, Live, author of "The First Female Performers: Tumblers, Girls, and Mime Actresses", who suggested that " male-gaze " violence is a matter which "considered as universal" of all "theatre and performance", as long as ...
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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.