Feminist Film Theorist Laura Mulvey, The Cinema Offers A Number Of Possible

Feminist Film Theorist Laura Mulvey, The Cinema Offers A Number Of Possible

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According to feminist film theorist Laura Mulvey, the cinema offers a number of possible “pleasures”. One being scopophilia. Scopophillia is the deriving pleasure from looking and in some instances, the pleasure in being looked at. This fetish isn’t so hard to deny in regards to cinema given the fact that the spectators themselves can only be identified with the camera. The camera in accordance to the spectators creates an all-seeing and all powerful-position for them to be in. If that be the case, Christian Metz brings up a valid point by stating “The practice of the cinema is only possible through the perceptual passions; the desire to see.
Laura Mulveys argues that the perspective presented by Hollywood narrative cinema is largely a heterosexual male one. The actuality of this statement means that the women portrayed in cinema derive from the male’s interpretation of female. This causes many obstacles for the female role in cinema as often times they become nothing more than a purposeful object subjected to the male gaze or a female character with a lack of identity. From there on, will women ever be able to escape the portrayal of the female ideal in cinema?
The male gaze refers to the perspective through which mostly, heterosexual men are viewing the world. It 's includes entitlement to all of the privileges awarded to gazers, entitlement to view women, and to discuss and exploit their bodies without consequence. The male gaze is apparent in a multitude of cinematic films. A wholesome example comes from Alfred Hitchcock’s historic thriller Rear Window. The movie sheds light on a temporarily handicapped man that takes interest in watching all the neighbors through his binoculars.
Rear Window is a movie filled with gaze and it...

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...ntribution to the story rather then an influence on the main character’s judgment solely due to sexual rewards. () On top of that, gender issues in Cinema are more likely to be called out whenever there is a social, political, and physical imbalance between a male and female.
With that being stated, there are still many instances where women are not so fortunate and till this day we still lack the identity of true female character due to the premeditated figure made up by the male ideal. Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret. The world of cinema is still growing and still represented in a predominately heterosexual viewpoint, but with enough effort and patience, the world will one day see a new standard for female portrayal in cinema.

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