Feminist theory
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This document discusses feminist film theory and the concept of the male gaze. It explains that classical Hollywood films position the audience as male through identification with a male protagonist. It introduces the idea that the female body is used to gain pleasure through the male gaze. The document then defines different types of gazes, including the spectator's gaze, male gaze, and female gaze. It notes that originally the theory assumed a heterosexual male audience and male protagonist, but it is now recognized that both men and women can identify with characters of either gender.
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The male gaze
The male gaze refers to how women are typically depicted from a heterosexual male point of view in visual media like films. Feminist theorist Laura Mulvey introduced the concept of the male gaze in 1975, arguing that women are often portrayed as sexual objects for the visual pleasure of male characters and audiences. She believed films present a heterosexual male perspective and that women are viewed as sexual spectacles rather than fully realized characters. The male gaze objectifies and fetishizes women for male pleasure through techniques like voyeurism and the camera's depiction of women as passive objects rather than active subjects.
narrative
This document discusses various narrative techniques and theories that can be used to analyze stories. It describes narrative as the construction of story and explains that narratives can be found in many different media forms, not just films and television. The document then outlines several narrative theories and techniques, including binary oppositions, Propp's character archetypes, enigma codes, action codes, Todorov's narrative theory, linear vs nonlinear structures, and multi-strand narrative structures. Examples are provided for how each technique could be applied when analyzing narratives.
2.Media Representation
The document discusses key concepts for analyzing representations in media texts, including:
1) Who or what is being represented, how the representation is created and by whom, and why the representation is constructed in a certain way.
2) Groups that are commonly underrepresented or misrepresented, such as women, minorities, and LGBTQ individuals.
3) Theories for analyzing representations, including the male gaze, female gaze, and concepts of femininity, patriarchy, and progressive vs. regressive portrayals.
McRobbie theory applied to Agent Carter
Angela McRobbie is a British cultural theorist and professor who analyzes how gender roles are represented in media. Her theory is that media portrays strict stereotypes of masculinity and femininity that socialize viewers into traditional gender norms. Men are shown as masculine, aggressive, powerful and dominant, while women are portrayed as weak, passive, subservient and pleasing to men. However, McRobbie acknowledges that some media texts depict women in empowered sexual roles, which could be positive, though other feminists disagree. The TV show Agent Carter challenges McRobbie's theory by depicting a female character taking an active, violent role while maintaining femininity.
Narrative
Narrative theory examines how stories are structured and told. Tzvetan Todorov proposed that most narratives follow a five-stage structure: equilibrium, disruption, recognition of disruption, attempted repair, return to equilibrium. Roland Barthes identified five codes that are present in texts: hermeneutic code, proairetic code, semantic code, symbolic code, and cultural code. Syd Field suggested that films can be divided into three dramatic acts: the setup (Act 1), the confrontation (Act 2), and the resolution (Act 3). Major plot points occur between acts to change the direction of the story.
Theories
Laura Mulvey argues that films typically portray women from a male gaze, focusing the camera on women's bodies in a way meant to appeal to male desire. For example, trailers may pan up a woman's legs and chest. The audience is meant to view women from a heterosexual male perspective regardless of the audience's own gender or sexuality.
Point of view
The document provides an overview of the different points of view (POV) that can be used in writing fiction: first person, second person, third person omniscient, third person limited omniscient, and third person objective. For each POV, the summary discusses potential advantages and disadvantages. The first person POV provides intimacy but limits omniscience. The second person is experimental but can pull readers into the story. The third person omniscient allows flexibility but may lack focus. The limited omniscient creates empathy but restricts head-hopping. The objective POV challenges writers through dialogue and action alone.
Point of view
This document provides an overview of different points of view that authors can use including first person, third person limited, third person omniscient, and third person limited-omniscient. Examples are given for each point of view to illustrate how the perspective and knowledge of the narrator differs. The lesson goal is for the reader to learn about these points of view and how they impact the reading experience.
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The male gaze
The male gaze refers to how women are typically depicted from a heterosexual male point of view in visual media like films. Feminist theorist Laura Mulvey introduced the concept of the male gaze in 1975, arguing that women are often portrayed as sexual objects for the visual pleasure of male characters and audiences. She believed films present a heterosexual male perspective and that women are viewed as sexual spectacles rather than fully realized characters. The male gaze objectifies and fetishizes women for male pleasure through techniques like voyeurism and the camera's depiction of women as passive objects rather than active subjects.
narrative
This document discusses various narrative techniques and theories that can be used to analyze stories. It describes narrative as the construction of story and explains that narratives can be found in many different media forms, not just films and television. The document then outlines several narrative theories and techniques, including binary oppositions, Propp's character archetypes, enigma codes, action codes, Todorov's narrative theory, linear vs nonlinear structures, and multi-strand narrative structures. Examples are provided for how each technique could be applied when analyzing narratives.
2.Media Representation
The document discusses key concepts for analyzing representations in media texts, including:
1) Who or what is being represented, how the representation is created and by whom, and why the representation is constructed in a certain way.
2) Groups that are commonly underrepresented or misrepresented, such as women, minorities, and LGBTQ individuals.
3) Theories for analyzing representations, including the male gaze, female gaze, and concepts of femininity, patriarchy, and progressive vs. regressive portrayals.
McRobbie theory applied to Agent Carter
Angela McRobbie is a British cultural theorist and professor who analyzes how gender roles are represented in media. Her theory is that media portrays strict stereotypes of masculinity and femininity that socialize viewers into traditional gender norms. Men are shown as masculine, aggressive, powerful and dominant, while women are portrayed as weak, passive, subservient and pleasing to men. However, McRobbie acknowledges that some media texts depict women in empowered sexual roles, which could be positive, though other feminists disagree. The TV show Agent Carter challenges McRobbie's theory by depicting a female character taking an active, violent role while maintaining femininity.
Narrative
Narrative theory examines how stories are structured and told. Tzvetan Todorov proposed that most narratives follow a five-stage structure: equilibrium, disruption, recognition of disruption, attempted repair, return to equilibrium. Roland Barthes identified five codes that are present in texts: hermeneutic code, proairetic code, semantic code, symbolic code, and cultural code. Syd Field suggested that films can be divided into three dramatic acts: the setup (Act 1), the confrontation (Act 2), and the resolution (Act 3). Major plot points occur between acts to change the direction of the story.
Theories
Laura Mulvey argues that films typically portray women from a male gaze, focusing the camera on women's bodies in a way meant to appeal to male desire. For example, trailers may pan up a woman's legs and chest. The audience is meant to view women from a heterosexual male perspective regardless of the audience's own gender or sexuality.
Point of view
The document provides an overview of the different points of view (POV) that can be used in writing fiction: first person, second person, third person omniscient, third person limited omniscient, and third person objective. For each POV, the summary discusses potential advantages and disadvantages. The first person POV provides intimacy but limits omniscience. The second person is experimental but can pull readers into the story. The third person omniscient allows flexibility but may lack focus. The limited omniscient creates empathy but restricts head-hopping. The objective POV challenges writers through dialogue and action alone.
Point of view
This document provides an overview of different points of view that authors can use including first person, third person limited, third person omniscient, and third person limited-omniscient. Examples are given for each point of view to illustrate how the perspective and knowledge of the narrator differs. The lesson goal is for the reader to learn about these points of view and how they impact the reading experience.
Intertextuality and pastiche
Intertextuality refers to the relationship between texts, especially how current media is formed and shaped by media that came before it through references and influences, implying that nothing is truly original. Pastiche is a gentle imitation or homage of an earlier narrative or film genre similar to parody, created to produce light humor through references to prior works. The document discusses intertextuality and pastiche, providing dictionary definitions and explanations of each term and noting examples are provided on subsequent pages.
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This document provides guidance on comparing the theme between a novel and film adaptation. It instructs the reader to identify the theme of their novel, watch a film with the same theme, and describe similarities and differences in how each medium portrays the theme. The reader is then told to prepare a 5 minute oral presentation comparing the novel and film's treatment of the theme, and to practice and record their presentation. The document also provides examples of common themes and discusses how to identify a work's theme by examining its plot, characters, setting, and narrator.
Point of View and Theme in literary work
This document discusses point of view and theme in stories. It describes the four main points of view: first person, third person (including omniscient, intrusive narrator, impersonal, and limited), and second person. First person narration tells the story from inside a character's perspective, while third person narration is outside the story referring to characters. Theme is defined as the meaning of a story, not its subject or moral. Discovering a story's theme requires a thorough reading to understand what the characters do and what happens to them and how that relates to the overall meaning.
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The document discusses point of view and theme in literature. It explains that point of view refers to the perspective from which a story is told, such as first person, second person, third-person objective, third-person limited, or omniscient. Theme is the underlying meaning or major idea of a work, rather than its subject, and authors express themes through how they make readers feel, characters' thoughts and conversations, character development, and story events and actions.
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Point of View
This document discusses different points of view (POV) that an author can use in storytelling. It describes the three main POVs: first person, second person, and third person. First person POV uses pronouns like "I" and "we" and creates a narrator character who tells the story. Third person POV uses pronouns like "he", "she", and "they" and can be either limited to one character's perspective or omniscient. Second person POV uses "you" and is less common. The document also discusses techniques like characterization, setting, audience, tone, and consistency that authors consider when choosing a POV for their story.
Applying Narrative Theories
The document discusses various narrative theories and concepts that can be used to analyze film narratives, including:
- Linear vs. non-linear narratives and examples of each
- Tzvetan Todorov's 5 stages of narrative structure: equilibrium, disruption, realization, action, new equilibrium
- Vladimir Propp's character archetypes in folktales
- Claude Levi-Strauss's concept of binary oppositions
- Roland Barthes' ideas of the "enigma code" and negotiated meanings
- Narrative point of view and how films manipulate audience sympathy
Point of View
This document discusses point of view (POV) in literary fiction. It defines the major types of POV - third person omniscient, third person limited, objective/dramatic, and first person - and analyzes the pros and cons of each. It encourages determining POV based on how much the narrator is allowed to know and whether they report characters' thoughts and feelings. The document aims to help writers choose the most effective POV for their stories.
Narrative Elements and Devices
The document discusses different types of narrators in literature, including first person narrated by a character in the story, second person addressing the reader as "you", third person omniscient where the narrator knows all about the characters, and third person limited where the narrator only follows one character's point of view. It then provides examples of different passages and identifies the point of view for each.
Narrative
Narrative refers to storytelling and how elements are organized to create meaning. Narratives across media share characteristics like structure and how they are informed by characters, action, and location. Narrative structures can be closed with a conclusion or open-ended. Theorists like Todorov, Propp, Barthes, and Levi-Strauss analyzed narratives and identified common patterns. Todorov saw narratives as progressing through equilibrium, disruption, and new equilibrium states. Propp identified character types like villains and heroes. Levi-Strauss explored binary oppositions. Barthes identified codes like hermeneutic and symbolic that shape narratives.
Point of-view
Point of view refers to how a story is told through the perspective of a narrator. There are three main points of view: third person omniscient, where the narrator knows everything about all characters; third person limited, where the narrator only knows the thoughts of one character; and first person, where the narrator is a character in the story. The point of view affects what the reader learns about the characters, events, and setting of the story.
Point of View
Point of view refers to the perspective from which a story is told. There are three main points of view: first person, where the narrator is a character in the story; third person limited, where the narrator can only access the thoughts of one character; and third person omniscient, where the narrator knows everything about all characters. The point of view affects what information the reader receives and how they understand the story. It's important to consider the reliability and knowledge of the narrator telling the story.
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Male gaze
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Point of View
This document discusses point of view in narratives. There are three main points of view: first person, second person, and third person. First person uses pronouns like I and me, and the narrator is a character in the story. Second person puts the reader directly in the story using you. Third person uses pronouns like he, she and their names, and can be omniscient, limited to certain characters, or purely objective without knowing thoughts. The examples help illustrate the different types of point of view.
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Character traits are descriptions of a character's personality or actions that do not relate to physical appearance. Authors may directly state a character's traits or readers can infer traits from what a character says, thinks, does, and how other characters respond to them. Traits can be discerned through a character's actions like bossiness, fears shown through thoughts, or from prideful statements. Other characters' responses, such as excluding someone, provide clues to a character's traits.
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Theorists and theories
Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema" argued that classic 1970s Hollywood cinema encouraged the "male gaze," or voyeuristic way of looking at women. She identified five features of the male gaze in cinema, including focusing the camera on female bodies and showing events through the male character's reaction rather than the female's perspective. The male gaze objectifies and sexualizes women for the pleasure of the male viewer. It positions women as weak objects in need of male protection rather than as fully realized characters.
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The document discusses several feminist film theorists and their perspectives on the portrayal of women in cinema. Mary Ann Doane argues for defining a feminine poetic syntax and positioning of looking/desire derived from reimagining depictions of the female body. Teresa de Lauretis calls for reconsidering women in cinema by addressing the spectator as a woman and depicting diversity among women. Laura Mulvey's theory of visual pleasure argues that the spectator and camera adopt the active male gaze, while women on screen are the passive objects of desire.
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Intertextuality and pastiche
Intertextuality refers to the relationship between texts, especially how current media is formed and shaped by media that came before it through references and influences, implying that nothing is truly original. Pastiche is a gentle imitation or homage of an earlier narrative or film genre similar to parody, created to produce light humor through references to prior works. The document discusses intertextuality and pastiche, providing dictionary definitions and explanations of each term and noting examples are provided on subsequent pages.
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This document provides guidance on comparing the theme between a novel and film adaptation. It instructs the reader to identify the theme of their novel, watch a film with the same theme, and describe similarities and differences in how each medium portrays the theme. The reader is then told to prepare a 5 minute oral presentation comparing the novel and film's treatment of the theme, and to practice and record their presentation. The document also provides examples of common themes and discusses how to identify a work's theme by examining its plot, characters, setting, and narrator.
Point of View and Theme in literary work
This document discusses point of view and theme in stories. It describes the four main points of view: first person, third person (including omniscient, intrusive narrator, impersonal, and limited), and second person. First person narration tells the story from inside a character's perspective, while third person narration is outside the story referring to characters. Theme is defined as the meaning of a story, not its subject or moral. Discovering a story's theme requires a thorough reading to understand what the characters do and what happens to them and how that relates to the overall meaning.
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The document discusses point of view and theme in literature. It explains that point of view refers to the perspective from which a story is told, such as first person, second person, third-person objective, third-person limited, or omniscient. Theme is the underlying meaning or major idea of a work, rather than its subject, and authors express themes through how they make readers feel, characters' thoughts and conversations, character development, and story events and actions.
Elements of a short story power point 2011
This document provides definitions and explanations of various literary terms that will be used throughout a short story unit and the school year. It defines terms like character, protagonist, antagonist, plot, setting, conflict, climax, resolution and others. It explains concepts like static vs dynamic characters, ways characters are revealed, and types of conflicts. Examples are provided for many of the terms.
Point of View
This document discusses different points of view (POV) that an author can use in storytelling. It describes the three main POVs: first person, second person, and third person. First person POV uses pronouns like "I" and "we" and creates a narrator character who tells the story. Third person POV uses pronouns like "he", "she", and "they" and can be either limited to one character's perspective or omniscient. Second person POV uses "you" and is less common. The document also discusses techniques like characterization, setting, audience, tone, and consistency that authors consider when choosing a POV for their story.
Applying Narrative Theories
The document discusses various narrative theories and concepts that can be used to analyze film narratives, including:
- Linear vs. non-linear narratives and examples of each
- Tzvetan Todorov's 5 stages of narrative structure: equilibrium, disruption, realization, action, new equilibrium
- Vladimir Propp's character archetypes in folktales
- Claude Levi-Strauss's concept of binary oppositions
- Roland Barthes' ideas of the "enigma code" and negotiated meanings
- Narrative point of view and how films manipulate audience sympathy
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This document discusses point of view (POV) in literary fiction. It defines the major types of POV - third person omniscient, third person limited, objective/dramatic, and first person - and analyzes the pros and cons of each. It encourages determining POV based on how much the narrator is allowed to know and whether they report characters' thoughts and feelings. The document aims to help writers choose the most effective POV for their stories.
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The document discusses different types of narrators in literature, including first person narrated by a character in the story, second person addressing the reader as "you", third person omniscient where the narrator knows all about the characters, and third person limited where the narrator only follows one character's point of view. It then provides examples of different passages and identifies the point of view for each.
Narrative
Narrative refers to storytelling and how elements are organized to create meaning. Narratives across media share characteristics like structure and how they are informed by characters, action, and location. Narrative structures can be closed with a conclusion or open-ended. Theorists like Todorov, Propp, Barthes, and Levi-Strauss analyzed narratives and identified common patterns. Todorov saw narratives as progressing through equilibrium, disruption, and new equilibrium states. Propp identified character types like villains and heroes. Levi-Strauss explored binary oppositions. Barthes identified codes like hermeneutic and symbolic that shape narratives.
Point of-view
Point of view refers to how a story is told through the perspective of a narrator. There are three main points of view: third person omniscient, where the narrator knows everything about all characters; third person limited, where the narrator only knows the thoughts of one character; and first person, where the narrator is a character in the story. The point of view affects what the reader learns about the characters, events, and setting of the story.
Point of View
Point of view refers to the perspective from which a story is told. There are three main points of view: first person, where the narrator is a character in the story; third person limited, where the narrator can only access the thoughts of one character; and third person omniscient, where the narrator knows everything about all characters. The point of view affects what information the reader receives and how they understand the story. It's important to consider the reliability and knowledge of the narrator telling the story.
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The document discusses different points of view in short stories including objective point of view where the narrator is detached, first person point of view where the narrator participates in the story, and third person point of view where the narrator knows the characters' thoughts and feelings. It also describes the differences between third person limited point of view focused on one character and third person omniscient point of view where the narrator knows everything about all characters.
Male gaze
This document discusses the concept of the male gaze and how it is defined through three dimensions: how men look at women, how women look at themselves, and how women look at other women. It outlines different types of gazes including the spectator's gaze, intra-diegetic gaze, extra-diegetic gaze, camera gaze, and editorial gaze. It then discusses Laura Mulvey's influential 1975 essay "Visual Pleasure and Narrative Cinema" which argued that women are presented as objects of visual pleasure through voyeurism in cinema and are viewed from the perspective of the heterosexual male gaze. Mulvey described three types of looking - that of the camera, audience, and characters on screen.
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The document discusses three perspectives, or points of view, from which a story can be told: first-person, second-person, and third-person. In first-person point of view the narrator is a character in the story who uses pronouns like "I" and "me". Second-person point of view is told by "you", while third-person perspective uses pronouns like "they", "he", and "she" and the narrator is not a character in the story.
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Voice
The document provides writing prompts and exercises to help develop a unique writing voice and style. It discusses how writers develop their own distinctive patterns and choices of diction, vocabulary, and syntax over time through the works they read and their own writing. Students are prompted to think about and analyze their own writing habits and patterns. They are also given exercises to practice writing from different perspectives and personas, including rewriting a story from another point of view.
Character in fiction
Character traits are descriptions of a character's personality or actions that do not relate to physical appearance. Authors may directly state a character's traits or readers can infer traits from what a character says, thinks, does, and how other characters respond to them. Traits can be discerned through a character's actions like bossiness, fears shown through thoughts, or from prideful statements. Other characters' responses, such as excluding someone, provide clues to a character's traits.
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This document outlines the key elements of fiction: character, plot, setting, theme, and style. It provides details on types of characters (round, flat), point of view (1st, 2nd, 3rd person), components of plot (exposition, conflict, climax, resolution), how setting establishes context, and how theme is conveyed through imagery, symbols and allegory. Style is defined as the writer's language choices, which along with voice and tone, help establish the overall attitude or feeling of a story.
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Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema" argued that classic 1970s Hollywood cinema encouraged the "male gaze," or voyeuristic way of looking at women. She identified five features of the male gaze in cinema, including focusing the camera on female bodies and showing events through the male character's reaction rather than the female's perspective. The male gaze objectifies and sexualizes women for the pleasure of the male viewer. It positions women as weak objects in need of male protection rather than as fully realized characters.
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The article discusses the concept of the "female gaze" in film and compares it to the traditional "male gaze". It notes that the term "male gaze" was coined by film critic Laura Mulvey to refer to the perspective of sensually viewing and objectifying the female body. In contrast, the female gaze is proposed to be more emotional, intimate, empathetic rather than objectifying, and respectful. The article highlights a film festival featuring the works of female cinematographers to showcase alternative perspectives to the male gaze. It notes debate around defining and developing the concept of a "female gaze", with differing opinions among female filmmakers on its usefulness as a term and whether it simply reinforces a gender binary.
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The article discusses the concept of the "female gaze" in film in response to Laura Mulvey's theory of the "male gaze". It introduces the Film Society at Lincoln Center's series on "The Female Gaze", which features 36 films shot by female cinematographers. These films range in style from raw to disorienting. The article explores different perspectives on what a "female gaze" might be, including that it sees people as people rather than objects, is emotional and intimate, and seeks to empathize rather than objectify. It notes that female cinematographers interviewed have varying opinions on the usefulness of the term and what it means given their technical skills and experiences that extend beyond gender.
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- Levi Strauss proposed the idea of "binary opposites" where understanding words depends on their opposite (e.g. understanding "villain" relates to differentiating it from "hero").
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Structuralism views culture as a system of signs that convey meaning through codes and conventions, similar to how language works. Structuralist film theory examines how films use paradigms like characters, props, and settings to construct meaning. Immanuel Kant's theory of "conditions of possibility" and Roland Barthes' idea of myths becoming reality through distortion are relevant to understanding horror films. Tzvetan Todorov's theory of narrative structure proposes stories follow a pattern from equilibrium to disequilibrium to a new equilibrium.
Film theories
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The male gaze theory proposes that visual media, especially films, are often constructed from the perspective of the heterosexual male viewer. This frames women as passive sexual objects to be looked at, prioritizing their appearance and the male viewer's desire over women's own subjectivity or agency. Studies link the influence of the male
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Laura Mulvey is a prominent British feminist film theorist best known for her 1975 essay "Visual Pleasure and Narrative Cinema," which introduced the concept of the "male gaze" and analyzed how Hollywood cinema represents women through the heterosexual male perspective and for the visual pleasure of male viewers. Mulvey's influential work inaugurated the intersection of film theory, psychoanalysis, and feminism and analyzed how the symbolic order of society is dominated by the heterosexual male gaze, which objectifies women as representations of male desires.
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Feminist theory
- 1. FEMINIST THEORY Ways of making meaning for audience for feminist audiences, especially from the perspective of feminist politicians. Including: Roles and functions of female characters Context Narratives and Genres Representations
- 2. THE THEORY…
- 3. She suggests that women are presented as objects consistently by the media Classical Hollywood films positioning the audience as male, through identification with male protagonist. The idea is that the female body is being used to gain pleasure by men, or other women. Thus the term ‘gaze’ or ‘look’ personifies this ideology. THE GAZE..
- 4. The spectator’s gaze: the audience looking at subject on the screen. Male gaze: male viewing the female voyeuristically. Female gaze: accepts that women can gain voyeuristically pleasure from looking at subject. Intra-diegetic gaze: when one character in the text looks/gazes at another character in the text. Extra-diegetic gaze: when one character in the text looks out of the text at the audience, breaking the fourth wall. DEVELOPMENTS OF THE GAZE..
- 5. Originally, the theory assumes the film audience is a heterosexual male – denies possibility that women can enjoy the gaze in the same way. Original assumes the protagonist in text is male. It is widely recognised now that a male audience can identify and relate with a female protagonist. UPDATING THIS…