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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]
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 ...
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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 ...
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.
Through the male character's ownership of the woman, the men in the audience find themselves owning her as well. [22] The male gaze is a significant aspect of traditional feminist film analysis [23] and thus is an important factor to consider in relation to female scientists and how they are portrayed in films. Typically women are viewed as ...
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]