Modernity
Ch. 3- Modernity
1. “ The gaze, whether institutional or individual, thus helps to establish relationships of power” (Sturken and Cartwright 111).
I chose this quote because of the fact that it is true. Once the gaze was virtually absent from descriptions of art, except as an arrow in the quiver of ekphrasis. In the Imagines, Philostratus notes when gazes are returned or reflected (as in the case of a painting of Narcissus), but he is not concerned with the narrative potential of gazing. In the twentieth century the situation changed, and looks, gazes, glimpses, and stares became indispensable to the understanding of figural art. In the 1980s and early 1990s, the gaze was the theory du jour; now it sounds like an asked-and-answered question, largely because theorizing has slowed and the important texts are beginning to look a bit dated. That is a deceptive situation, I think, because there is still neither consensus about the gaze nor a better theory in sight.
2. “Gender has been a crucial aspect of concepts of the gaze. In the history of art, the fact that paintings were for the most part geared toward male viewers, as art historian Griselda Pollock has noted in her work on modernity and the spaces of femininity, had as much to do with the commerce of art as it did with the social roles and sexual stereotypes of men and women” (Sturken and Cartwright 123).
I chose this quote because it sounds interesting to me. I want to talk about more on gender gaze and camera. There’s a quote “I am the eye, you are my victim”. This one phrase sums up the position of women in pornography and music video. Whoever controls the ‘eye’—…the camera, the gaze, or the image—also controls the ‘victim’—the subject, the photographer’s fetish object, most notably women”. The male gaze can be represented across popular culture through a variety of different types of entertainment, including photographs, film, and music videos. The idea of the male gaze has its roots all
1. “ The gaze, whether institutional or individual, thus helps to establish relationships of power” (Sturken and Cartwright 111).
I chose this quote because of the fact that it is true. Once the gaze was virtually absent from descriptions of art, except as an arrow in the quiver of ekphrasis. In the Imagines, Philostratus notes when gazes are returned or reflected (as in the case of a painting of Narcissus), but he is not concerned with the narrative potential of gazing. In the twentieth century the situation changed, and looks, gazes, glimpses, and stares became indispensable to the understanding of figural art. In the 1980s and early 1990s, the gaze was the theory du jour; now it sounds like an asked-and-answered question, largely because theorizing has slowed and the important texts are beginning to look a bit dated. That is a deceptive situation, I think, because there is still neither consensus about the gaze nor a better theory in sight.
2. “Gender has been a crucial aspect of concepts of the gaze. In the history of art, the fact that paintings were for the most part geared toward male viewers, as art historian Griselda Pollock has noted in her work on modernity and the spaces of femininity, had as much to do with the commerce of art as it did with the social roles and sexual stereotypes of men and women” (Sturken and Cartwright 123).
I chose this quote because it sounds interesting to me. I want to talk about more on gender gaze and camera. There’s a quote “I am the eye, you are my victim”. This one phrase sums up the position of women in pornography and music video. Whoever controls the ‘eye’—…the camera, the gaze, or the image—also controls the ‘victim’—the subject, the photographer’s fetish object, most notably women”. The male gaze can be represented across popular culture through a variety of different types of entertainment, including photographs, film, and music videos. The idea of the male gaze has its roots all