Response Paper 2
In the article “Visual Pleasure and Narrative Cinema” Laura Mulvey argues that the pleasure produced by narrative cinema reproduces an unconscious patriarchal structure of sexual divisions. It does so by appealing to our pleasure in looking – scopophilia (Mulvey, “Visual Pleasure and Narrative Cinema”, p. 16) and to narcissistic primordial impulse to see our lives reflected in idealized ways that are in fact diliated, but important. She talks about emotions and how they work on us, how representation produces emotions that trigger unconscious responses.
Historically we respond and behave in ways that are not rational, that are not even understandable to us – it is a relatively new idea, however, extremely important and a powerful
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It can be either narcissistic or voyeuristic. Mulvey claims that cinema is scopophilic, “But the mass of the mainstream film, and the conventions within which it has consciously evolved, portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic fantasy” (p.17). She says that one of the reasons why cinema is so appealing is because it satisfies this scopophilic impulse that we all …show more content…
However, I think that objectification is not always a negative thing – it is simply a way to represent. It happens when you highlight a certain part of someone or something, whenever you do not show the whole. So it is a particular way in which women are repeatedly objectified is the crucial point; it is a particular way in which men are driving the action forward and when women appear the action slows down or even stops. This is also can be seen in the scene when Sottie sees the blond woman in the restaurant: the time seems to stop; the audience is just forced to look at her. Nothing important happens in this scene, but the fascination that we experience towards her. So women are put into position of the main male character and we have two choices as a spectator: either seeing her from the main character’s sexual perspective or to identify yourself with the objectified
The American obsession with spectatorship is a phenomenon created by the inaccessibility of timely and relevant knowledge. This oddly leads to an increase in the demand and likeability of terror. In her piece “Great to Watch”, Maggie Nelson explores the origins of this fascination with horror and gives an
Although in the book men are the ones who mainly objectify females, the women themselves also seem to do the same. In the context of the book, the women play a role in how men sexualize their bodies. A great parts of this reflected on Beli, the mother of Oscar, her body was one that could mesmerize a man, prospering infatuations with her curvy features. At a young age Beli realized what her body can do to boys, to men. “ It dawned on Beli: that men liked her!
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.
This essay argues that the gendered performance of the characters is due to Linda Nicholson’s biological foundationalism as explored in Interpreting Gender (1999). The differences in reactions between the men and women of the story are not
In this essay, I will discuss how the film is about film itself. The notions of gaze will also be analysed, through a discussion of voyeurism and Jeff and Lisa’s relationship. This brilliant film about watching the neighbours simultaneously represents a self-reflexive film about the cinema and filmmaking. “[…] Jeff embodies the activity and passivity of both the film maker and the spectator; the director creates and waits, while the viewer
During the 1920s, American society began to adopt values that threatened the traditional values that remained from the 1800s. Many of these changes were a direct result of the youth culture of the time and how their uncertainty of who they were helped contribute to these changes in values. Throughout the decade, the struggle between modern and anti-modern values was exemplified in literature, drama and silent film of the American culture. “Sunrise: A Song of Two Humans” represents the conflicting modernist and anti-modernist sentiments of the time through its use of cinematography and characterization. “Sunrise: A Song of Two Humans”, the 1927 film by F.W. Murnau, is a shining example of the struggle between modern and anti-modern values that
This movie shows stereotypical blonde girls, through the eyes of Elle, and this is unhealthy since people in reality also assume these characteristics to be true of every blonde girl they see. People fail to see individuality because of these stereotypes. After all, no matter what happens, people will always assume blonde girl to be dumb. Another example of stereotypes perpetuated through the movie is how the men in the movie “Legally Blonde” are portrayed as stereotypical males. In fact, there is one scene in the movie where the admission counselors of Harvard, accept Elle through her video application mostly because of her looks.
In comparison to the movie, the play undermines male dominance by focusing on women’s efforts to solve their own problems. First of all, there aren’t even men in the cast of the play,
In contrast to the twentieth century we still see some of this in our current day and ages. Contrasting portrayals of men and women in films leave us with the fact that we haven’t changed. Men and women are sought to have different gender roles within
There are multiple people who are intrigue and love horror movies without knowing the reason. In Stephan Kings essay, “Why We Crave Horror Movies” he does his best to find an answer to the question “why do people crave horror movies?” Throughout his essay he came up with certain key points to answer the question. At the beginning of his essay, he makes a bold statement that “we are all mentally ill.” He motions that people just watch horror movies to portray their fearlessness while suppressing their true emotions.
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
Women are depicted as “trophy” to men and nothing more. Throughout the epic a sense of bravado and machoism is played out, giving off a man’s world feeling which women and little or no real reason to be wanted. To understand the epic and the roles in which women played, one may not have to look further than how the book has been put together. First and foremost, the book is being told through the eyes of a man (good luck ladies).
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.
Feminist literary criticism’s primary argument is that female characters have always been presented from a male’s viewpoint. According to Connell, in most literary works, female characters often play minor roles which emphasize their domestic roles, subservience and physical beauty while males are always the protagonists who are strong, heroic and dominant (qtd. in Woloshyn et al.150). This means that the women are perceived as weak and are supposed to be under the control of men. Gill and Sellers say that feminist literary criticism’s approach involves identifying with female characters in order to challenge any male centred outlook.
All throughout the novel, there is the constant reminder of a women’s stereotypical role as the