The essay, “Why Do We Stare?” by Rosemarie Garland-Thompson, proves my personal theory on the stare; “staring encounters nonetheless, drafts the staree into a story of the starer’s making, whatever that story might be, whether they like it or not” (8). And because of these assumptions and story-making, there are times I had to reflect on myself. Do I identify as a female, because I was biologically born as one? Or do I identify as a male, because of my appearance and my behavior?
This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction.
By welcoming us to relate to Jefferies through the subjective utilization of perspective shots and most significantly exactly when Mr Thorwald gives back his look by looking straight into the camera (at Jefferies and verifiably at us), this is Hitchcock's comical remark on the primordial status of the observer as voyeur. One of the important characteristics of the gaze is that the object of the gaze is not aware of being looked at, therefore giving the viewers gaze a voyeuristic
In her feminist film theory essay, "Visual Pleasure and Narrative Cinema", Laura Mulvey uses psychoanalysis to criticize and scrutinize the fetishism, scopophilia, and eroticism in Hollywood mainstream cinema. What Daughters of the Dust executes impeccably roots from radically abandoning the cultural conventions that depict women as subservient and submissive to patriarchal
Compare and contrast at least three female characters from the American films that we watched in the second part of the course, and analyze issues of femininity and Italian American ethnicity that emerge from the corresponding films. Review the article by Laura Mulvey and look for examples where the female characters are either granted or denied a narrative power through the usage of POV shots, camera looks, sound, or other storytelling techniques discussed throughout the course." This paper will show how the ideas of femininity and ethnicity shaped the way in which women were expected to behave in Italian-American movies of the 1980’s. It will consider their relationship with the prominent men in these movies, and how different expectations
The surprising part of his story was that his father was an educated man who was a professor at some esteemed universities including The University of Pennsylvania in Philadelphia. “Look me in the eye” is a fitting title for his book because John heard this phrase repetitively throughout his childhood from his parents, family, teachers, and others in the community. He described looking at the floor when he heard these words, only making the individual angrier. John described many incidents when he would feel so uncomfortable and unable to form the words.
This papers will use feminism theorist to explain the concept of the movie. For example the movies unknowing use The gaga Feminism created by J.Jack Halberstam “Gaga feminism abandon the norm on how gender politics recognizes the ways in which our ideas of the normal or acceptable depend
In certain forms of literature, voyeurism takes a more passive role, with the audience behaving as the ultimate judge of character to determine if the events involve voyeurism. Within this discussion, it is important to note that the act of looking is most prominently considered a male trait. For centuries, men have been able to use their social, economic, and political power over women to enact their looking, ascribing sexual qualities to women derived from their voyeurism and denoting them as inherent. This has yielded dangerous consequences for women, as oftentimes they suffer the consequences of the labels and qualities voyeuristic men ascribe to them without their consent or knowledge. Overall, Freud’s definition of scopophilia being inherently tied to the consideration of women as the inherently weaker sex manifests itself in literature that oftentimes equips this Freudian concept to punish women for being looked at by men.
"Male Gaze" In "Ways of Seeing" Berger suggest that the representations of men and women in visual culture propose different "gazes", different setting in which they are looked upon, having men with the capability of examining women, as well as having women examine women. The video "10 Hours of Walking in NYC as a Woman". Rob Bliss the creator of the video presents how he believe women have the right to dress the way they want and that men play a major role, where they should not make disgusting comments and gestures, but instead lower their gaze. These two works both highlight the "male gaze", the way visual arts relate the world and women from a masculine point of view and in terms of men 's attitude. At the start of "Ways of Seeing" John Berger
This film allows us to examine Laura Mulvey’s concept of the ‘male gaze’ as we link these suggested traits to the male characters in the film. According
First, for Laura Mulvey, “male gaze” is the pleasure of looking at women with their appearance related to an erotic impact. They are used as sexual object to fulfil man’s desires. Similarly, Dreamworld 3 shows women in music videos as a key for sexuality. Men are there to watch them dancing, women play the
The male gaze theory and the supporting circumstances have been around for quite some time. However, the actual phrase originally was coined by Laura Mulvey. Mulvey established the phrase in her 1975 essay ‘Visual Pleasure and Narrative Cinema’ which was about cinematography.
The construction of a self-conscious female gaze is the prime objective of feminist theatres everywhere. British feminist theatre practice as elsewhere is an attempt made by women to claim their rightful space in the creative realm of theatre that was deliberately denied to them by patriarchy. The public gaze on women was always the male gaze, one that always wished to see women as objects. It was an ideological position that patriarchy sanctioned as the normal way of looking at women. Women were always the secondary sexual objects for the gratification of male sexual fantasies.
Michal Jacksons’s seminal music video, Thriller exemplifies the theme of scopophilia, through showing passive women as an epitome of pleasure and attraction. Generally, women have been portrayed as sexual objects throughout the history of cinema and art. Although, women have been protesting for their rights since the last century, they are not considered equal even today. In most of the movies, men use women for their pleasure and sexual satisfaction.
Sociobiologists believe that staring at women helps to maximize the male reproductive opportunities. Money (1984, 1989) claimed that voyeurism is a displacement paraphilia, one that "involves a segment of the preparatory phase for an erotic and sexual activity before genital intercourse begins. He hypothesized that a displacement paraphilia is a "love map that goes awry by the displacement of original elements". He also viewed that voyeurism is one of the showing or looking "allurative"
