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
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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.
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and Narrative Cinema" is that Hollywood narrative films use women in order to provide a pleasurable visual experience for men. The narrative film structures its gaze as masculine. The woman is always the object of the reifying gaze‚ not the bearer of it (this has something reminiscent of John Berger’s "Ways of Seeing") The cinematic gaze is always produced a masculine both by means of the identification produced with the male hero and through the use of the camera. Mulvey identifies two manners
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Laura Mulvey ’s article "Visual Pleasure and Narrative Cinema" argues that in classical hollywood cinema there exists a different viewing expierience for male and female spectators. explain the basis of the theory. Do you agree? Since 1970 ’s Laura Mulvey has been regarded as one of the most famous and well known feminist in film critic. through out histry‚ women ’s body has been used as a vision of pleasure by men. women ’s bodies have been used to make profit for the males sexual desire. the women
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art critic’s perspective by the name of Mara Miller. Miller expounds on this observation by Berger in an essay entitled “Art and the Construction of Self and Subject.” In this essay‚ Miller makes the claim that women are not the object of the male gaze by referencing several tablets created in the style of Ukiyo-e as supportive of her thesis. Her thesis asserts that a self neither split nor devalued can be derived from the analysis of Japanese art and can be evidenced in
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“The presence of woman is an indispensable element of spectacle in normal narrative film‚ yet her visual presence tends to work against the development of a story-line‚ to freeze the flow of action in moment of erotic contemplation” (Laura Mulvey‚ “Visual Pleasure and Narrative Cinema”). Discuss the significance of this observation in relation to one or more narrative films. Laura Mulvey’s essay appeared for the first time in “Screen” in 1975 and immediately created quite heated debate that continues
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The cold harsh winds of the winter whistled through the ranch. Nothing moved‚ the grounds lay bare the only sign of life was an illuminated window on the far side of the silent ranch. The light came from a small wooden shack; the shack appeared newer than the rest of the weather worn buildings‚ it also looked better cared for than the other buildings. Next to the shack was a small garden and in it were gravestones. Two were lined side by side‚ but another sat lonely in the corner of the garden. The
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themselves: thinking‚ moving‚ living subjects and not men’s objects. Quentin Tarantino’s Death Proof [1]is a thriller inspired by American independent ‘grind house’ exploitation and B movies of the sixties and seventies.[2] Is the audience’s gaze throughout male or female? Is the gender representation patriarchal or feminist? Will both or either feel pleasure in watching it? Can this film be considered a feminist film? At first glance‚ Death Proof is a patriarchal narrative‚ supported
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Thesis Statement Exploring the cinematic gaze and its relevance to contemporary audience. Nurfarahin Amir 10249 (+65)93252485 vultures@live.com A research paper submitted in partial fulfillment of the requirement for the
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According to Graham Clarke‚ “The gaze’ is more than a look. . . [i]t implies power‚ but it also implies the voyeuristic and the fetishistic: primary terms of reference in which a body is subjected to assumptions which have nothing to do with its individuality; its uniqueness in terms of the person‚ rather than the image‚ being photographed” (Clarke). The male figure is likely videoing her specifically for the male heterosexual gaze and to bring upon titillation in the viewer‚ rather
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