As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very act of filming" (Kaplan 15). The gaze is associated with subjectivity and control and as Kaplan later suggests in the chapter "Is the Gaze Male?", "to own and activate the gaze...is to be in the masculine position" (Kaplan 30). Therefore the visual pleasure in cinema is mainly geared towards a male spectator who maintains subjectivity and a sense of voyeurism, while his female counterpart must be both subject and object, she must see herself being seen.
At first glance, women's films or family melodramas such as Now Voyager seem to reverse such spectator roles as one is made to identify with a female protagonist. Yet as E. Ann Kaplan suggests, by using psychoanalysis one can deconstruct these films in order to show how they only work to reinstate the dominant patriarchal order of man as subject and woman as object. She suggests that "the family melodrama, as a genre geared specifically to women, functions both to expose the constraints and limitations that the capitalist nuclear family impose...
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...trol of the gaze as abnormal. By temporarily disrupting the spectator's sense of visual pleasure and coding this alternative as ill, as well as associating the restoration of visual pleasure with a return to the male gaze, the film successfully reinforces the male position as voyeur and female as object. The film normalizes the female spectators role of deriving pleasure from being both subject and object, proving, through the (medicalization) of the female protagonist, that to only derive pleasure in viewing as a subject or voyeur is a false pleasure, one that is abnormal. Just as Charlotte is cured in the film by denying her the gaze and constructing her into a fetish, so too is the female spectator's pleasure 'cured' or restored as she allows herself to be both object and subject, perceiving control of the gaze as an illness rather than as a tool of empowerment.
Jordan is an Arab Kingdom in Western Asia. The kingdom bordered by Iraq, Israel, Saudi Arabia, and Syria. Climate and terrain in Jordan depends on what region of the country you are in, as Jordan is generally divided into three separate regions. These regions are known as the Jordan Valley, the Mountain Heights, and the Badia Region. Western Jordan is comprised of the Jordan Valley and Mountain Heights, while the eastern
Works Cited Cowie, Elizabeth. A. A. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN -. University of Minnesota Press, 1997.
Scopophilia is taking other people as objects, subjecting them to a controlling and curious gaze by allowing the spectator to look into a secret diegetic world, a projection of desire onto the former. For example, Peeping Tom (1960) stimulates a direct connection with the audience between eye and phallus, through the form of a camera wielded by protagonist and serial killer Mark Lewis (Carl Boehm). He is equip...
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
Reformers wanted to stray away from political influences and believed that policing should be in the control of police executives (Peak, 2015). While the Political era’s goal was social services, the Reform Era began to shift policing to controlling crime. In addition, the police organizations were reorganized through the study of scientific theory of administration advocated by Fredrick Taylor, which led to the development of maximizing police efficiency (Peak, 2015). To improve professionalism within police departments, O.W. Wilson began emulating what J. Edgar Hoover did with the FBI. In 1924, the FBI director began to raise eligibility standards to develop an incorruptible force. As a result, it had a direct influence on local police agencies by placing emphasis on education, training, honesty and professionalism. Professionalism in police departments came about in the form of new Technological advances and a focus on crime fighting. During this period there were three major advances in technology: two-way radio, police cars and the telephone. Unlike the problems faced during the political era, the advent of these technologies changed everything. With two-way radios, supervisors now had the capability to notify patrol officers of calls and maintain accountability. Patrol cars allowed for greater mobility, which led to officers responding to calls more efficiently. Then telephones allowed for citizens to have a direct line to the police and were encouraged to call for any problem. However, while the advances in technology greatly increased police efficiency, it had unexpected consequences. In contrast, during the political era, officers patrolled on foot, which allowed them to engage citizens and develop a relationship within the community. With the use of police cars, officers no
American policing originated from early English law and is profoundly influenced by its history. Early law enforcement in England took on two forms of policing, one of which heavily influenced modern policing and it is known as the watch (Potter, 2013). The watch consisted, at first, of volunteers which had to patrol the streets for any kind of disorder including crime and fire. After men attempted to get out of volunteering by paying others, it became a paid professional position (Walker & Katz, 2012). The three eras of policing in America are shaped by these early ideas and practices of law enforcement. Throughout time, sufficient improvements and advancements have been made from the political era to the professional era and finally the community era which attempts to eliminate corruption, hire qualified officers and create an overall effective law enforcement system.
The film Klute, directed by Alan J. Pakula attempts to subvert this theory, but ultimately proves Mulvey correct in the system of the active male and passive female, that the male controls the film and drives the story forward. Jane Fonda’s character, Bree Daniels, sees herself at the
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
In the thirty years since its release, Alien has become a film of various debates amongst film theorists. Academic analyses of the film draw attention to many differing themes, most popularly with feminism. Most critiques, academic and otherwise, ultimately conclude that Alien is a feminist film because of its representation of the workplace as a home to equality and a place where traditional gender roles have been obliterated. What is ultimately revealed by Alien is the anxiety of men during the era of second-wave feminism in which the film was produced. This film provides a step forward for feminists, but imagines men taking two steps back in equality.
Some people might say that these movies provide entertainment and transport families into the lives of princes and princesses. Many critics have said that the films have amazing soundtracks and have detailed and interesting plots. Still, however entertaining the films may be, the way women are viewed and treated outweigh any enjoyment that a viewer could have. The subliminal lessons young women learn from these films have lifelong repercussions and negatively affect the female
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
Fraud, Façade or Sham means that the courts will inspect from behind of the corporation where the corporation was found purely to escape a legally liability, or to let someone to do something which he is not allowed to do by individual. It is important for clearly the intention of the individual. When the corporate form has been used willingly, it will evade the existing liability which has upshot in the vei...
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in 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 it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...
Feminist theory was derived from the social movement of feminism where political women fight for the right of females in general and argue in depth about the unequality we face today. In the aspect of cinema, feminists notice the fictitious representations of females and also, machismo. In 1974, a book written by Molly Haskell "From Reverence to Rape: The treatment of Women in Movies" argues about how women almost always play only passive roles while men are always awarded with active, heroic roles. Moreover, how women are portrayed in movies are very important as it plays a big role to the audience on how to look at a woman and how to treat her in real life due to the illusionism that cinema offers. These images of women created in the cinema shapes what an ideal woman is. This can be further explained through an article 'Visual Pleasure and Narrative Cinema' written by a feminist named Laura Mulvey in 1975. She uses psychoanalysis theories by Sigmund Freud to analyze 'Scopophilia' which is the desire to see. This explains how the audience is hooked to the screen when a sexy woman is present. In a bigger picture, where Scopophilia derives from, 'Voyeurism' is also known as feeling visual pleasure when looking at another. Narcissism on the other hand means identifying one's self with the role played. It is not hard to notice that in classical cinema, men often play the active role while the women are always the object of desire for the male leads, displayed as a sexual object and frequently the damsels in distress. Therefore, the obvious imbalance of power in classical cinema shows how men are accountable to moving the narratives along. Subconsciously, narcissism occurs in the audience as they ...