Laura mulvey
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This document discusses Laura Mulvey's theory of the "male gaze" and the feminist film theoretical concept of the "female gaze." It provides context around Mulvey's seminal 1975 essay that introduced the idea of the male gaze, which represents the gaze of the male viewer as well as the male character and creator in film. The male gaze objectifies women and positions them as objects of male desire. The document also discusses criticisms of Mulvey's theory, such as the proposition of a "matrixial gaze" that challenges the notion of oppositional male and female gazes.
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Laura Mulvey theorist
Laura Mulvey introduced the concept of the Male Gaze in her essay "Visual Pleasure and Narrative Cinema." The Male Gaze refers to the perspective of the heterosexual male viewer in film, which objectifies women and denies their agency. Mulvey argues that psychoanalytic theory explains how film creates space for the sexual objectification and exploitation of women through patriarchal social order. Critics note that the Male Gaze is present when women are unnecessarily sexualized in advertisements unrelated to the product.
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Media
Laura Mulvey is a 75-year old British feminist film theorist and professor known for her influential 1975 essay "Visual Pleasure and Narrative Cinema". In this essay, she introduced the concept of the "male gaze", arguing that women in film and literature are represented from a male point of view, with men in active roles and women in passive roles. Specifically, the "male gaze" refers to how scenes are framed from the perspective of a heterosexual male viewer, focusing on a woman's body as an erotic object for both characters and spectators to view.
Psychoanalytic criticism
Psychoanalytic criticism analyzes literary works through the lens of Sigmund Freud's theories about the id, ego, and superego and how unconscious desires and anxieties shape a work. It posits that an author's own life experiences, including childhood, unconsciously influence their writing. Psychoanalytic critics examine characters and symbols in a text for what they might reveal about the inner psyche and secret desires of the author. It differs from biographical criticism in focusing more on the author's inner life than outer biography, and from reader-response criticism by prioritizing the author's perspective over the reader's interpretation. Mary Shelley's Frankenstein can be analyzed psychoanalytically by examining Victor's dreams and lack of strong
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The male gaze – laura mulvey
Laura Mulvey coined the term "Male Gaze" to describe how audiences view characters from the perspective of a heterosexual male in films. The Male Gaze theory suggests that women are denied human identity and are instead viewed and presented as objects to be admired based on their physical appearance. Key aspects of the Male Gaze include the camera lingering on female curves, events being presented through a man's reaction, and women existing primarily in relation to men in the narrative.
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Laura Mulvey theorist
Laura Mulvey introduced the concept of the Male Gaze in her essay "Visual Pleasure and Narrative Cinema." The Male Gaze refers to the perspective of the heterosexual male viewer in film, which objectifies women and denies their agency. Mulvey argues that psychoanalytic theory explains how film creates space for the sexual objectification and exploitation of women through patriarchal social order. Critics note that the Male Gaze is present when women are unnecessarily sexualized in advertisements unrelated to the product.
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De Lauretis examines debates around essentialism in feminist theory. She argues that identity is never fixed, and that being a woman refers not to an essential quality but how one is positioned in relation to gender categories. Feminism's focus should be on the socially constituted female subject rather than an essential notion of womanhood. The essay analyzes works by Weedon and Alcoff on cultural feminism versus post-structuralism. De Lauretis aims to move beyond polarization by introducing a more complex analysis of feminist debates that acknowledges both positive and negative aspects.
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Laura Mulvey is a 75-year old British feminist film theorist and professor known for her influential 1975 essay "Visual Pleasure and Narrative Cinema". In this essay, she introduced the concept of the "male gaze", arguing that women in film and literature are represented from a male point of view, with men in active roles and women in passive roles. Specifically, the "male gaze" refers to how scenes are framed from the perspective of a heterosexual male viewer, focusing on a woman's body as an erotic object for both characters and spectators to view.
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Psychoanalytic criticism analyzes literary works through the lens of Sigmund Freud's theories about the id, ego, and superego and how unconscious desires and anxieties shape a work. It posits that an author's own life experiences, including childhood, unconsciously influence their writing. Psychoanalytic critics examine characters and symbols in a text for what they might reveal about the inner psyche and secret desires of the author. It differs from biographical criticism in focusing more on the author's inner life than outer biography, and from reader-response criticism by prioritizing the author's perspective over the reader's interpretation. Mary Shelley's Frankenstein can be analyzed psychoanalytically by examining Victor's dreams and lack of strong
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This document discusses the history and use of caricature. It begins by defining caricature as an exaggerated drawing or depiction of a person that emphasizes striking features in a comic or grotesque way while still retaining likeness. The document then traces the origins of caricature to ancient Egypt, Greece and Rome. It provides examples of ancient caricatures and discusses how authors like Jonathan Swift and John Milton were subjects of 18th century English satirical caricatures addressing political issues. The document argues caricature is used to express dissatisfaction with those in power and as a weapon against authority and injustice towards the lower classes.
The male gaze – laura mulvey
Laura Mulvey coined the term "Male Gaze" to describe how audiences view characters from the perspective of a heterosexual male in films. The Male Gaze theory suggests that women are denied human identity and are instead viewed and presented as objects to be admired based on their physical appearance. Key aspects of the Male Gaze include the camera lingering on female curves, events being presented through a man's reaction, and women existing primarily in relation to men in the narrative.
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This document analyzes how sexuality is portrayed in a non-conventional way in "Flash Forward". It discusses how stereotypes of masculinity and femininity are subverted, such as by showing a woman in a position of power during a karate lesson. Scenes are analyzed that depict different perspectives on sexuality, including one where a woman takes on a traditionally male role in a relationship. Overall, the document argues that the film blurs distinctions between morals and reality to allow for subjective views of sexuality rather than societal norms.
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- Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema" analyzed how women are depicted and objectified in mainstream cinema for the pleasure of the male gaze. She argued this stems from the male-dominated film industry.
- The essay sparked debate around feminist film theory. Responses discussed how the male spectator can distance themselves from the image, the female spectator's relationship to images, and the potential for "masquerade" through alternative representations of femininity.
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Laura Mulvey analyzed how mainstream films appeal to the "male gaze" through the representation of women and the act of spectatorship. She argued that most films are made from the perspective of male directors for a male audience. This results in active male characters and passive female characters who are presented for visual pleasure. The male spectator can gain narcissistic pleasure through identifying with male heroes and voyeuristic pleasure through objectifying and fetishizing female characters.
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Affiliation: Master of Arts in Philosophy, University of Santo Tomas
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Similar to Laura mulvey
CompExam1
- Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema" analyzed how women are depicted and objectified in mainstream cinema for the pleasure of the male gaze. She argued this stems from the male-dominated film industry.
- The essay sparked debate around feminist film theory. Responses discussed how the male spectator can distance themselves from the image, the female spectator's relationship to images, and the potential for "masquerade" through alternative representations of femininity.
- Later essays criticized the lack of evolution in female characters compared to male ones, arguing this stems from ideology that places men in history and women as timeless objects outside of it. They called for a counter-cinema with
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Mulvey and the gaze
Laura Mulvey analyzed how mainstream films appeal to the "male gaze" through the representation of women and the act of spectatorship. She argued that most films are made from the perspective of male directors for a male audience. This results in active male characters and passive female characters who are presented for visual pleasure. The male spectator can gain narcissistic pleasure through identifying with male heroes and voyeuristic pleasure through objectifying and fetishizing female characters.
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The male gaze theory
Laura Mulvey developed the theory of the "male gaze" which argues that cinema and media are typically constructed from the perspective of the heterosexual male viewer. This results in the objectification and sexualization of women on screen for the pleasure and empowerment of male audiences. According to Mulvey, women are portrayed as objects to be looked at rather than active subjects. This reinforces the traditional patriarchal idea that men are active viewers while women are passive objects to be looked at. Examples of the male gaze include the framing of women's bodies and emphasis on their sexuality in many films.
Spec & Resp - Lesson 11 - Laura mulvey
Laura Mulvey's 1975 article "Visual Pleasure and Narrative Cinema" uses psychoanalytic and feminist theory to critique the way classic Hollywood films reflect and reinforce patriarchal ideology through the male gaze. She argues that films position women as objects for the male gaze and viewer identification, establishing male dominance and female inferiority. Rear Window is offered as an example of the "voyeur's film" that depicts the world from a male point of view and investigates female sexuality and male desire through patterns of submission and dominance. Central to Mulvey's analysis is the concept of "scopophilia," or pleasure in looking, which cinema and films like Rear Window offer by allowing the viewer to take on the controlling and voy
Media representation presentation
Stuart Hall developed reception theory and the theory of encoding and decoding. He argues that audiences do not passively accept media texts, but actively negotiate meaning. Hall believes that culture is a site of social action and intervention where power relations can be established or challenged. He views identity as an ongoing cultural production rather than a fixed attribute, and has discussed how notions of race and ethnicity are socially constructed. Hall's influential work examines how institutions like the media can manipulate representations of issues like crime statistics for political purposes and ignite moral panics.
Vert 7 - Mulvey and The Male Gaze
Romantic love is a concept that emerged in Western culture during the Middle Ages. Some key aspects of romantic love include:
- An idealization of love and lovers. Romantic love is seen as passionate, intense, and transformative.
- A focus on emotion, feelings, and subjective experience rather than practical concerns. Romantic love prioritizes passion, attraction, and emotion over practical matters like wealth, social status, religion, etc.
- An emphasis on attraction to another's inner qualities and uniqueness rather than outer attributes. Romantic love sees beauty within rather than superficial/physical beauty alone.
- An idea of a soulmate or one true love. The belief that there is one special person who perfectly completes
Mulvey and the gaze
Laura Mulvey analyzed how mainstream films appeal to the "male gaze" through the representation of women as passive objects for the male spectator to look at and desire. She argued that films encourage identification with active male protagonists and voyeuristic or fetishistic viewing of female characters. This reinforces patriarchal notions of masculinity and femininity for the benefit of the presumed male audience.
Hollywood Film Analysis
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Hollywood Film Analysis
The classic Hollywood movie was dominated by a misogynistic view of sex and gender. The Hollywood film rose rapidly as one of the highest earning industries in America in the early twentieth century. As a result of the traditional patriarchal society of the era it was the men who owned the studios, the men who wrote the scripts, the men who worked behind the scenes, and the men who held the leading roles that dominated the industry. In this paper, I will discuss in brief my experience in viewing the short film by Tracy Moffatt (2003). Second, examine the feminist theories of Mulvey (1975) that provide a psychoanalysis of the male gaze and how these views of sex and gender were placed in the movie. Finally, I will provide a counter...show more content...The criteria of this theory examined how women s roles were perceived, were they passive or active, did they receive adequate screen time and were their roles stereotypical of the female genre, did the roles reinforce sexism . In addition, in its infancy, this theory examined the meaning of the text and what affects they had on the audience and the primary focus on the male gaze and spectatorship .
Moreover, Laura Mulvey s essay, Visual Pleasure and Narrative Cinema (1975), Mulvey applied the psychoanalysis theories of Sigmund Freud and Jacques Lacan and combined them with feminist theory to analyse the woman s role in film. Mulvey argues that women play roles that are passive and women are only used as a visual pleasure to accompany the male actor , that is to say, the woman s role is to highlight the patriarchal order of the male, hence the woman is objectified and exploited . According to Mul
A beginners’ guide to
The document provides an overview of Laura Mulvey's seminal work on "the male gaze" in film and how it has influenced feminist film theory. It discusses key concepts such as scopophilia and the mirror stage that influenced Mulvey's theory of how classical Hollywood cinema positions the male viewer to objectify female characters. It also summarizes how Mulvey's theory has been expanded on to incorporate different types of gazes and more diverse audiences and film texts over the decades since her initial work. As a case study, it analyzes how the gaze functions in the film Y Tu Mamá También.
Laura mulvey’s male gaze theory
Laura Mulvey is a British feminist film theorist known for her 1975 article "Visual Pleasure and Narrative Cinema" which introduced the concept of the "male gaze". She argues that in classic Hollywood cinema, the camera presents women as objects of male pleasure through techniques like lingering shots of their bodies. This reflects the patriarchal ideology of representing women as passive objects to be looked at by both male characters and the audience. Mulvey's work helped establish psychoanalytic film theory and influenced feminist film criticism by revealing how gender is constructed through cinematic techniques.
Critical Introduction
Critical Introduction
How could you use an analysis of the pattern of looks or the identity of the gaze to develop a critical reading of contemporary mainstream film?
The concept of gaze is how an audience views the people presented. The types of gaze are categorized by who is involved and who is looking. The male gaze which is a term whom Laura Mulvey introduced in this piece of writing, Visual Pleasure and Narrative Cinema . Mulvey suggests that women are typically presented as just objects in film, serving a sexual purpose for men, she states Women displayed as sexual object is the leit motif of erotic spectacle. (Laura Mulvey, 1975, 11)
This essay will be an analysis of the identity of the gaze in mainstream film with a brief insight to...show more content...This is a negative male gaze, her being his object . When she gets to Edward, she lifts up his trouser leg and touches his leg in a carnal style; she then commences to undress herself, and takes off the very little clothes she was already wearing. She pulls the clothes off her slim frame within seconds; the camera focuses on Edwards face, emphasizing his eyes staring at her naked body. Edward appreciates her body, and enjoys what he sees; this scene displays Scorophilia, as Edward gets a deriving sexual pleasure from looking at her skin, others suggests it is the irregular of gazing at. (Sutherland 2003, p.59). This could not only be a male gaze, but it could also be looked upon as a curious gaze (Observing). Mulvey stated, Scorophilia was associated with taking other people as objects, subjecting them to a controlling and curious gaze. (Laura Mulvey, 1975, 8) Not only is Scorophilia shown in this scene, but Fetishistic Scorophilia ( This is when the female figure is represented simply as a beautiful object of display (her objectification shows how voyeurism and this kind of fetishism can overlap (Gillian Rose, Visual Methodologies: An Introduction to Researching with Visual Materials,161) is also exposed as Vivian s body is represented as an object of display . Her body is often pictured with close ups capturing her flesh; this could be to make her look perfect in the male gaze. However from how Vivian s
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Applying feminist approaches to media texts
The document discusses theoretical approaches to analyzing media texts, including the concepts of the "male gaze" and the "feminine mystique". It explains that the male gaze refers to media representations produced from a male point of view that objectify women. Meanwhile, the feminine mystique refers to the idealized image of women being solely housewives and mothers that was promoted in 1950s American culture. The document encourages applying these concepts to analyze representations of various female celebrities and discusses how useful these approaches are for making sense of media productions.
Popular Culture-Psychoanalysis.pptx
This document discusses various approaches to psychoanalysis and its application to cultural theory and popular culture. It explores Freudian psychoanalysis, Lacanian psychoanalysis, cine-psychoanalysis, and Slavoj Zizek's Lacanian perspective on fantasy. Key aspects covered include the unconscious, the structure of the psyche, the mirror stage, language and lack, scopophilia and the male gaze in film, and fantasy as a frame through which we understand reality.
The laura mulvey theory
Laura Mulvey developed the Male Gaze theory to describe how mainstream films typically show women as objects for the heterosexual male gaze. The theory argues that women are displayed for both the characters and spectators to look at, with the male emerging as the dominant figure. Mulvey believes this reflects an underlying power imbalance where the male gaze takes precedence over the female gaze. However, some disagree with aspects of the theory by arguing that some women enjoy attracting attention or that some media also objectify men.
Cn presentation
This document summarizes a guest lecture about theories of the male gaze and oppositional gaze in film. It discusses Lacan's concept of the mirror stage and how viewers identify with film images. John Berger's analysis of how women are portrayed to be looked at by men in art is presented. Laura Mulvey's 1975 essay introduces the concept of the male gaze in narrative cinema and how women are constructed as objects for the male spectator. Bell Hooks' 1992 essay discusses the oppositional gaze of black female spectators rejecting identification as victim or perpetrator. The film Mildred Pierce is discussed as a potential example of challenging the male gaze through its focus on the relationship between a mother and daughter.
Lecture 4 18-13
This document summarizes key concepts from a guest lecture about the male gaze, oppositional gaze, and the film Mildred Pierce. It discusses Laura Mulvey's theory of the male gaze in film and how films typically feature the man as the bearer of the look and the woman as the image. It also covers bell hooks' theory of the oppositional gaze, which discusses how black women and other marginalized groups defiantly reclaim the gaze. The document analyzes whether Mildred Pierce is an example of the male gaze, oppositional gaze, or neither through its focus on the relationship between the title character and her daughter.
The male gaze
The document discusses Laura Mulvey's theory of the "male gaze", which argues that women are typically objectified in film from the perspective of the heterosexual male viewer. Mulvey states that mainstream cinema prioritizes the male gaze, reflecting an underlying gender power imbalance. The male gaze lingers on women's bodies and presents them as sexual objects for male pleasure. Some criticisms of Mulvey's theory are that it does not consider female viewers or how some women enjoy being looked at. The document also discusses how the male gaze framework has been applied in analyzing genres like horror films.
Extract from laura mulvey
Laura Mulvey argues that in narrative cinema, women are typically portrayed as objects of the male gaze. Women are styled and displayed for their visual and erotic impact, meant to signify and play to male desire. While the presence of women enhances spectacle, it can also freeze the action and flow of the narrative by provoking erotic contemplation of the male characters and spectators. Traditionally, women on screen function as erotic objects for both the characters within the story and the spectators watching.
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Laura mulvey
- 1. LAURA MULVEY: MALE GAZE THEORY BY : S A I R A , R O O H I M A & D U A
- 2. INTRODUCTION •The female gaze is a feminist film theoretical term representing the gaze of the female viewer. It is a response to feminist film theorist Laura Mulvey's term, "the male gaze," which represents not only the gaze of the male viewer but also the gaze of the male character and the male creator of the film.
- 3. IDEA OF MALE GAZE • The “male gaze” invokes the sexual politics of the gaze and suggests a sexualised way of looking that empowers men and objectifies women. In the male gaze, woman is visually positioned as an “object” of heterosexual male desire. Her feelings, thoughts and her own sexual drives are less important than her being “framed” by male desire. • A key idea of feminist film theory, the concept of the male gaze was introduced by scholar and filmmaker Laura Mulvey in her now famous 1975 essay, Visual Pleasure and Narrative Cinema. • Adopting the language of psychoanalysis, Mulvey argued that traditional Hollywood films respond to a deep-seated drive known as “scopophilia”: the sexual pleasure involved in looking. Mulvey argued that most popular movies are filmed in ways that satisfy masculine scopophilia. • Although sometimes described as the “male gaze”, Mulvey’s concept is more accurately described as a heterosexual, masculine gaze.
- 4. CRITICISMS • Matrixial gaze[edit] • Bracha Ettinger criticizes this notion of the male gaze by her proposition of a matrixial gaze.[17] The matrixial gaze is not operative where a "male gaze" is placed opposite to a "female gaze" and where both positive entities constitute each other from a lack (such an umbrella concept of the gaze would precisely be what scholars such as Slavoj Žižek claim is the Lacanian definition of "The Gaze"). Ettinger's proposal doesn't concern a subject and its object, existing or lacking. Rather, it concerns "trans-subjectivity" and shareability on a partial level, and it is based on her claim concerning a feminine-matrixial difference that escapes the phallic opposition of masculine/feminine and is produced in a process of co-emergence. Ettinger works from the very late Lacan, yet, from the angle she brings, it is the structure of the Lacanian subject itself that is deconstructed to a certain extent, and another kind of feminine dimension appears, with its hybrid and floating matrixial gaze.[18] • Women and the gaze[edit] • Griselda Pollock, in her article, "Modernity and the Spaces of Femininity" argues that the female gaze can often be visually negated.[21] Pollock claims Robert Doisneau's photo Sidelong Glance supports this argument.[22] In the photo, a middle- aged bourgeois couple are looking around an art gallery. The spectator view of the picture is from inside the shop but the couple are looking in different places than the view of the spectator. The woman is commenting on an image to her husband, while the husband is being distracted by a nude female painting. The nude female painting is hung within view of the spectator. The woman is looking at another image, but it is out of view of the spectator. The man's gaze has found something more interesting and he has chosen to ignore the woman's comment. According to Pollock, "She is contrasted iconographically to the naked woman. She is denied the picturing of her desire; what she looks at is blank for the spectator. She is denied being the object of desire because she is represented as a woman who actively looks, rather than returning and confirming the gaze of the masculine spectator".[21]
- 5. QUOTES BY LAURA MULVEY • “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female form which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.” • ― Laura Mulvey, Visual And Other Pleasures “Woman, then, stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of a woman still tied to her place as the bearer of meaning, not maker of meaning.” • ― Laura Mulvey, Visual And Other Pleasures