Synopsis of Films
Synopsis of film
Introduction
The second wave feminism has brought about several new feminist film theories. Concepts such as the gaze and scopophilia were introduced in the analysis and study of films, notably from individuals such as Laura Mulvey, Gaylyn Studlar and Gilles Deluze.
Laura Mulvey uses Freud’s psychoanalytic theories and concepts as “political weapons” to argue that cinematic spectatorship is influenced by patriarchal society (Mulvey, 746). Women in films are often used to depict in voyeuristic and fetishistic aspects, two modes of the male gaze, throughout mainstream cinema. They are described as passive, seen as sexual objects desired by men and never possessing the gaze. Traditional films often objectify women, presenting them as an image, with men as bearer of the look. Studlar, however, argues that women also holds the power of the gaze, and in turn, controls the male audience through masochism in films. She cities Gilles Deluze’s work on masochism to support her claims that challenges Mulvey’s use of Freud’s notions of sado masochism and pleasure principal.
It is important to assimilate the notion that there are more to women being seen on screen as passive objects of desire, but what also what women can do to challenge stereotypes. To audiences, movies are not just visual pleasure, but also powerless to what perceptions the cinematic image wants to show.
Thus, this essay looks into Studlar’s concepts such as masochism, dream screen and their importance to understanding the representations of women in films.
Terminator (1984)
Mulvey’s study of films were mostly from the early periods such as 1950s and 1960s. Also, Mulvey’s films were centered on the male perspective, how males gaze at women in cinemas. An example of this is the film Gentlemen prefers Blondes. However, her concepts and theories of gaze, scopophilia and voyeurism can also be found in later films such as Terminator.
The Terminator sets the tone as a classical
Introduction
The second wave feminism has brought about several new feminist film theories. Concepts such as the gaze and scopophilia were introduced in the analysis and study of films, notably from individuals such as Laura Mulvey, Gaylyn Studlar and Gilles Deluze.
Laura Mulvey uses Freud’s psychoanalytic theories and concepts as “political weapons” to argue that cinematic spectatorship is influenced by patriarchal society (Mulvey, 746). Women in films are often used to depict in voyeuristic and fetishistic aspects, two modes of the male gaze, throughout mainstream cinema. They are described as passive, seen as sexual objects desired by men and never possessing the gaze. Traditional films often objectify women, presenting them as an image, with men as bearer of the look. Studlar, however, argues that women also holds the power of the gaze, and in turn, controls the male audience through masochism in films. She cities Gilles Deluze’s work on masochism to support her claims that challenges Mulvey’s use of Freud’s notions of sado masochism and pleasure principal.
It is important to assimilate the notion that there are more to women being seen on screen as passive objects of desire, but what also what women can do to challenge stereotypes. To audiences, movies are not just visual pleasure, but also powerless to what perceptions the cinematic image wants to show.
Thus, this essay looks into Studlar’s concepts such as masochism, dream screen and their importance to understanding the representations of women in films.
Terminator (1984)
Mulvey’s study of films were mostly from the early periods such as 1950s and 1960s. Also, Mulvey’s films were centered on the male perspective, how males gaze at women in cinemas. An example of this is the film Gentlemen prefers Blondes. However, her concepts and theories of gaze, scopophilia and voyeurism can also be found in later films such as Terminator.
The Terminator sets the tone as a classical
References: Creed, Barbara 1989 (1986). Horror and the Monstrous Feminine: An Imaginary Ab- jection. In James Donald, ed. Fantasy and the Cinema. London: BFI Publishing, 63-89. 1993a. The Monstrous-Feminine: Film, Feminism and Psychoanalysis. London & New York: Routledge. http://reconstruction.eserver.org/054/dominguez.shtml http://www.helium.com/items/132886-women-in-horror-films-ripley-the-alien-and-the-monstrous-feminine