Male Gaze in Vertigo Several film theorists have used a variety of tactics and view points to analyze feature films since their inception. One of the most prominent theorists of those that analyze films from a feminist perspective is Laura Mulvey. Mulvey is famous for her essay “Visual Pleasure and Narrative Cinema‚” which presents an array of theories involving the treatment of women in films. Arguably the most notable idea presented in Mulvey’s work is the existence of the “male gaze” in
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these movements attained their main goal – the social change. One of the movements that was started by the pioneers is the Male Gaze Theory. The Male Gaze Theory‚ a feminist theory by Laura Mulvey‚ was developed in 1975. It happens when the audience‚ or viewer‚ is put into the viewpoint of a heterosexual male. Mulvey stressed that the dominant male gaze in mainstream Hollywood films reflects and satisfies the male. It applies wherever you have an audience and a text being presented to that audience
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The elephant in the Art room The mother the other Addressing the elephant in the Art room Linda Nochlin posed the question in her 1971 article “Why Have There Been No Great Women Artists? Arguing it was necessary to question “the unstated domination of white male subjectivity” that shaped the art historical canon; the article explored the reasons for the severe asymmetry of female to male artists throughout the course of art history. When examining western art as viewed through the canon one must
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Bibliography: Mulvey‚ Laura. “Visual Pleasure and Narrative Cinema.” Literary Theory : An Anthology. Julie Rivkin and Michael Ryan. Oxford: Blackwell Publishing‚ 1998. 585-595. “Kill Bill vol.1 . Writ. and dir. Quentin Tarantino‚ prod. Lawrence Bender. DVD-5.Miramax‚ 2003
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heroine provokes‚ or rather what she represents. She is the one‚ or rather the love or fear she inspires in the hero‚ or else the concern he feels for her‚ who makes him act the way he does. In herself the woman has not the slightest importance." Laura Mulvey’s influential essay "Visual Pleasure and Narrative Cinema” expands on this conception of the passive role of women in cinema to argue that film provides visual pleasure through scopophilia‚ and identification with the on-screen male actor. She
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how it is still very prevalent in contemporary modern culture through photography and other mediums‚ such as‚ cinema and advertising. I will be analyzing the photographic work of Cindy Sherman‚ E.J. Bellocq‚ advertisement and the written work of Laura Mulvey and John Berger. Traditionally imagined‚ written and produced by men‚ advertisements have long depicted women as men want them to be‚ sexy‚ obedient‚ fragile‚ instead of as they actually are. In this way‚ the male gaze is very predominant in modern
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determining male gaze projects its phantasy on to the female figure which is styled accordingly.” (Mulvey 750) Mulvey refers here to classic Hollywood cinema. Is her analysis still relevant? Discuss in relation to films from the classic era and contemporary cinema. Refer to films screened in this unit and films of your choice with attention to mise en scene and narrative structure. Laura Mulvey identifies certain patterns in narrative cinema regarding the model of power between the gaze and
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drive the male characters‚ Women in cinema‚ even in action roles‚ are portrayed in a way that objectifies them‚ even if that is not the end goal of their role. This repetition of the stereotypical gender roles correlates with Laura Mulvey’s theory of the "Male Gaze.” Mulvey innovated the idea that active and passive aspects of scopophilia (the urge to look) are shared among the sexes. Relatedly‚ in his article Ways of Seeing‚ John Berger had already proposed that in Western culture‚ from painting
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advertisements‚ but especially in film. In the film Gilda (Charles Vidor‚ 1946)‚ the main character and her male counterparts exemplify that women are mean to be recipients of the male gaze‚ and it becomes problematic if these structures are upended. Laura Mulvey‚ in her essay‚ Visual Pleasure and Narrative Cinema‚ examines and explains these power structures. We can use her article to understand how Gilda both aligns with and escapes from the male gaze. In her article‚
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of female masquerade to a film listed on the module schedule‚ assessing its disruption of the gaze in the film. Mary Ann Doane’s theory of the masquerade inherently usurps the binary in constructing the gaze in terms of being active and passive of Laura Mulvey’s theory of scopophilia and to-be-looked-at-ness in classical Hollywood narrative . Mulvey’s theory is pivotal around the assumption the gaze of the hypothetical audience is structured around a masculine view point as facilitated by the cinematic
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