Furthermore‚ how commodity (Marxian) fetishism - as an intrinsic value of the socioeconomic structure of capitalism – exists in the context of film‚ and additionally how film itself poses as a commodity itself; the two are inexorably linked. Drawing on Laura Mulvey’s feminist Freudian analysis‚ Visual Pleasure and Narrative Cinema‚ in the first case I will show how classical Hollywood narrative depends on the erotic spectacle of the woman’s body; which simultaneously evokes a castration threat and then
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Cited: Mulvey‚ Laura. “Visual Pleasure and Narrative Cinema.” 2181 – 2192. “Softcore‚” “Hardcore‚” “Erotica”. The American Heritage Dictionary. 4th ed. 2001 Strossen‚ Nadine. “Sexual Speech and the Law.” Left‚ Right‚ and Center: Voices from Across the Political Spectrum
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Jonathan Moeller Final Paper‚ Theory and History of Cinema 5-‐4-‐12 1 Gender Roles in the Work of John Ford: How The Director of Westerns Used Women To Drive a Male Dominated Genre The Western genre has always been a representation of American identity‚ in that its films reflect societal moods
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Althusser‚ Ideology and Interpellation The French philosopher‚ Louis Althusser‚ first popularized the word in his seminal essay “Ideology and Ideological State Apparatuses (Notes towards an Investigation)” (Althusser‚ 1972). In the essay‚ Althusser explores the relationship between the state‚ modes of (re)producing power and ideology from a Marxist perspective‚ defining ideology as “the imaginary relationship of individuals to their real conditions of existence” (Althusser 1972: 162). In his definition
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Jennifer Berezina ENG 283-T ‚7 pm Exam 1-question 1 How does one define social construction? Well‚ to begin with you can certainly consider gender differences in social construction. When referring to social construction we are looking at ways society defines these characteristics and ideas within different cultures‚ whether it’s the biologically involved or these instances are learned starting at infancy. It’s these social interactions that people act and react to‚ and what is merely accepted
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Routledge * Catwoman Dialogue‚ (2004) Warner Bros and Villiage Roadshow. * Judith Butler‚ (1990). Gender Trouble: Feminism and the Subversion of Identity‚ Routledge‚ London. * Kevin Maher‚ (2005) ‘A hard woman is good to find’ The Times article. * Laura Mulvey‚ (1975). Visual Pleasure and Narrative Cinema * D.B Dowd Todd * Lillian S Robinson‚ (2004). Wonder Woman: Feminisms and Superheroes. Pp125. * Richard Reynolds‚ (1994). ‘Superheroes: A Modern Mythology’‚ pp 30 * Roger Ebert‚ (2006) * Simone
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for both male and female in political‚ economic‚ and social issues. * Believes women are oppressed due to their sex based. * Social division benefits for men. * Women in the media are representation of “domestic way of living”. Laura Mulvey (1975) * Women are represented in which media emphasis on their sexuality and physical appearance. * Identified 3 common trends in Hollywood films: 1) Men controlled action and were responsible for moving narrative along. 2) Women are
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the help of Karen E. Dill’s “Video Game Characters and Socialization of Gender Roles: Young People’s Perceptions Mirror Sexist Media Depictions‚” the Media Education Foundation film Game Over: Gender‚ Race & Violence in Video Games‚ as well as Laura Mulvey‚ I will be focusing how our society demotes one gender over the other using the gender portrayals of video game male and female characters‚ and why Americans‚ specifically the
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right to look ’ (Dyer 1982) Johnathan Schroeder posited ‘...to gaze implies more than to look at- it signifies psychological relationship of power‚ in which the gazer is superior to the object of the gaze.(Schroeder‚ 1998)’ Keeping this in mind‚ in Laura Mulvey’s article ‘Visual pleasure and narrative cinema’‚ she proposes that the male gaze is paramount in how women are looked at and presented throughout film and other mediums in media‚ using this study as a political weapon. In conjunction with John
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13th (Betsy Palmer‚ 1980)‚ Eyes of a Stranger (Jennifer Jason Leigh‚ 1981)‚ and A Nightmare on Elm Street (Heather Langenkamp‚ 1984). One of the book’s central strengths is the direct simplicity of its central premise: taking the classic Laura Mulvey male-centered identification process of sadistic-voyeur and flipping it around to a masochistic-voyeur (by having the identification process shift to the usually female victim/Final Girl). Vis-à-vis the Mulvian argument against male-driven cinematic
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