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Foucault's Theory Of The Gaze
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Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
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Intro: Nathaniel Hawthorne’s fictional short story “The Birthmark” and The Twilight Zone’s darkly romantic episode “Eye of the Beholder” both use gothic elements and delve into the realm of science to explore concepts of beauty and perfection. Through their contrasting characterizations of the scientist and employments of irony and allusions, each work comes to its own conclusions about how to define and treat beauty. Body #1: The Birthmark From the very first paragraph, Hawthorne’s story revolves around Aylmer, a scientist who supposedly gives up his career to marry the beautiful woman of his dreams, Georgiana.
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Extended essay response Jonathan Scriva Hollywood films have influenced our values and beliefs of socio-cultural groups within a film. In the context of race and gender the films Cowboys and Aliens (2011) and the searchers (1956) both share similarities. These two successful films are 55 years apart the both convey the perspectives of race and gender through the reflection of American Indians in these films. The films The Searchers and Cowboys and Aliens show that Hollywood has changed the way we see the status of Indians. In the earlier film the Indians are represented as killers and mongrels as in this current day and age we have grown to accept them and appreciate their culture.
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The film reflects on the fact that the audience assumes the role of voyeurs to the screen exhibition because it plays on emotion through the character of Hugo and his
620 Words | 3 Pages
In the essay What Meets the Eye, Daniel Akst argues that look or beauty does matter in the daily life, that is, people’s life can be largely influenced or even controlled by look. Through reading Akst’s essay, I completely understand how people have different perspectives of others, as many people pay attention to and worry about how they look in the daily life. And people tend to judge others by their beauty or looks to a large extent. Akst’s ideas quite conform to and reinforce Paglia’s points that pursuing and maximizing one’s attractiveness and beauty is a justifiable aim in any society, and that good surgery discovers reveals personality. Both of them hold the idea that beauty plays an important role in people’s life and it is significant to enhance one’s beauty and attractiveness.
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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.
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Laura Mulvey is a feminist film theorist from Britain who is known for her essay on visual pleasures in narrative cinema. Being inspired by Sigmund Freud and Jacques Lacan’s ideology combined with psychoanalysis, Mulvey comes up with the ‘Male Gaze Theory regarding sexual objectification on women in the media. The male gaze is the way in which the visual arts and the literature portrays women and world from a masculine point of view presenting women as objects of male pleasure regardless of being heterosexual male or female, thus the formula of cinema becomes comprised of “women ad image, man as bearer of the look.” The male gaze consists of three different gazes: - look of the camera that records the film, - the look of the characters in the film and – the look of the audience that views the film. Mulvey then went on to classify women’s role on film functions “on two levels: as erotic objects for the characters within the screen story, and as erotic objects for the character within the auditorium.”
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The objectification of women has lead to sexual abuse, self esteem issues, and judgement based on their eroticism. The understanding
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In Laura Mulvey’s article, “Visual Pleasure and Narrative Cinema,” she writes about the relationship between voyeurism, cinema, and gender. She begins by describing the concept of scopophilia, which means to gain pleasure from looking. She writes that scopophilia is inherently active/masculine, and that pleasure is derived from looking at other people as mere objects. On the other hand, the passive/feminine is derived from the experience of being looked at (pg.188). Mulvey sees this binary relationship between viewer and object being viewed as a part of our culture, and the greatest example of this is found in cinema.
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The 1960s clearly illustrated gender formation for women. At this time, the master narrative contained ideologies which described what an ideal woman was. One part of the ideology for women was how women were suppose to look. Beauty standards set up by men were to be conformed to, otherwise a woman who did not conform would be seen as undesirable. Thus, a restriction is placed on something simple as appearance.
1209 Words | 5 Pages
This form of objectification is often used as a means to appeal to men's sexual desires in order to promote and attract consumers, because marketers still latch onto the old “sex sells”, or so it would seem (Rowland, 2016). Music videos, magazines, fashion commercials, are all channels through which women are exploited and put out to be headless objects isolated for their bodies solely for sexual pleasure and viewing purposes. Rowland explains that although this charade may allure and trap most men, this is not the case for women. Emma Rooney cites in The Effects of Sexual Objectification on Women's Mental Health, “the sexual objectification of women is a driving and perpetuating component of gender oppression, systemic sexism, sexual harassment, and violence against women”. Jessica Vanlenti writes in ‘Worldwide sexism…Women’, that researchers from The University of Missouri-Kanas and Georgia State found these forms of objectification to be linked to women’s psychological distress, and are leading causes of suicide among young adolescent women.
700 Words | 3 Pages
In his documentary film “why beauty matters” English philosopher Roger Scruton introduces the idea of beauty is disappearing from our world. The philosopher implies, that Art has become ugly, as well as our physical surroundings, manners, language, and music. Nowadays, the main aim of art is to disturb and break moral taboos. It has now lost its initial duty and is used to show solely the ugliness of our world, instead of taking what is most painful in the human condition and redeeming it in the work of beauty. What according to Scruton is the main purpose of art.
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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.
986 Words | 4 Pages
Figure 2 and 3 exemplify women presented in a submissive and docile image. In figure 2, there is a direct eye contact to the camera which conveys a personal address to the reader. It allows the audience to be captivated in the seductive qualities of her body. However, the use of black around her eye helps to accentuate salacious look upon her face. Furthermore, white fur and jewelry in her costuming portrays this ideal of wealth and affluence that women should be aspiring for to attract the ‘right man’.
1109 Words | 5 Pages
Laura Mulvey’s article Visual Pleasure and Narrative Cinema was published in 1975, has set out the concept of visual pleasure and explains it under a system looks in cinema. Her theory points out that men looked at women, men are the subjects of women, and to look at the object position; (women) accept their role of being looked at and creating visual pleasures for men as well as in the social reality. Her approaching is to use the same “political weapon” (“psychoanalytic theory”) that “the unconscious of patriarchal society has structured film form” (the way men used to oppress women) (Mulvey 483), with the hope to leave “the past behind without rejecting it” (Mulvey 485). To analyze that the main bias of cinema lies in the obsessive psychological
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