Is the gaze male? Book Title: Women and Film: Both Sides of the Camera. Contributors: E. Ann Kaplan author. Publisher: Methuen. Place of Publication: London. Publication Year: 1983. Page Number: 35. Since the beginning of the recent women’s movement‚ American feminists have been exploring the representation of female sexuality in the arts—in literature‚ painting‚ film‚ and television. As we struggle towards meaningful theory‚ it is important to note that feminist criticism‚ as a new way of reading
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Cartwright examine the relationship between gender and the gaze. The chapter focuses on the work of feminist film theorist‚ Laura Mulvey. Mulvey’s main theory is first coined in her essay ‘Visual Pleasure and Narrative Cinema’ she discusses the ‘male gaze’‚ which is comprised of the outlook that the ‘camera is used as a tool of voyuerism and sadism’ and adopts the perspective of a heterosexual male viewer in order to objectify women. Mulvey argues that cinema caters towards male viewing pleasure and
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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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The Color Red "The beauty that addresses itself to the eyes is only the spell of the moment; the eye of the body is not always that of the soul." George Sand hit the nail right on the head when he said this in 1872. Appearance versus reality has been a central theme in many American creative works including the film American Beauty. American Beauty is a film that delves into your typical‚ middle-class suburban American home and slowly uncovers all of the abnormalities that lie within. The family
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Sam Mendes’ American Beauty‚ at first‚ evinces the perfect picture of the ideal middle class suburban American life. The Burnham family appears to have everything anyone would want- success‚ money‚ status‚ and with that‚ presumed happiness. However‚ reality contravenes this façade and paints a much darker and more sinister truth. Throughout the film‚ several interpersonal communicational concepts are incorporated to depict the elaborate layers of the characters and their relationships in the film
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American Beauty tells the story of a man’s mid-life crisis set in contemporary American suburbia. The character of Lester Burnham is already dead and tells the story as a flashback. Lester works in a steady job‚ is in a loveless marriage‚ and has a tense relationship with his daughter. However‚ he doesn’t like his job‚ has extreme marriage troubles with his wife‚ and feels depressed and hopeless. He ends up changing quite a bit‚ he gets sexually obsessed with his daughter’s friend Angela‚ decides
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A True Beauty Sam Mendes’ ‘American Beauty’ is a daring‚ startling and gut-wrenching film that explores a seemingly typical mid-life crisis of a middle-aged office drone‚ which quickly turns into an unbelievably dysfunctional dimension of self-discovery. The drone in question is none other than Lester Burnham (played by the terrific Kevin Spacey) - a 42 year old who has reached the lowest point in his unexciting‚ boxed in‚ suburban life. However this all changes when Lester meets a friend of his
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The Gaze (John urry) - is an understanding how the tourist behaves by the regulation of the culture. Thus‚ rather than being ’out of place’ a person may be regulated by the gaze of others so they may embody the culture of difference. However‚ this does not always apply. A tour group of the same culture may find more comfort in the ’sameness’ of their fellow travellers. False Front (Boorstin) - Objective authenticity of toured objects treat authenticity as a property inhering in toured objects one
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Both films It’s a Wonderful Life and American Beauty focus on a protagonists identity crisis. George has a momentary break down in which he lashes out at his wife and children‚ plagued with fear of not being ale to provide for his family‚ nearly drives George over the edge. When he enters an alternative universe‚ nobody recognizes him and he is cast as an outsider. Though George contemplate suicide‚ he is able to reclaim his life after recognizing his home‚ family‚ and friends make him whole. On
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The present results discredit the initial intention to show a relationship between emotional expression and gaze cueing effects. This was especially relevant to the research hypothesis‚ as these results force the null hypothesis to be accepted in the cases of a happy emotional expression having a positive impact upon reaction times and accuracy‚ and likewise for fearful producing a reduction in both. These results conflict with the previous research looked upon in order to formulate a testable hypothesis
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