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    Even though Mulvey presents some intriguing points on how psychoanalysis affects the way gender is viewed in regards to the look, her writing is restricted and one-dimensional in comparison to Constance Penley’s article, “Feminism, Film Theory, and the Bachelor Machines” (1985). Penley begins by focusing on the idea of the “bachelor machine:” a practice used from approximately 1850-1925 where, “numerous artists, writers, and scientists imaginatively or in reality constructed anthropomorphized machines

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    Feminist Film Theory and Silver Linings Playbook Silver Linings Playbook, is a film directed by David O. Russell, that follows a former teacher named Pat (Bradley Cooper) who is released from a psychiatric hospital for bipolar disorder after an eight month stay. His main goal after his release is to win back his ex-wife, Nikki (Brea Bee), whom he caught cheating for another man. Having been emotionally distressed for what had happened, he violently attacked the other man, almost killing him, which

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    Auteur Theory Continues to be an Important Part of Filmmaking The auteur theory is an idea or principle, which states that the film is a reflection of a director’s creative personal vision, as if to say the he or she is the primary author (which in French, means “auteur”). This theory first came to be in 1954, by a French film director named Francois Truffaut. The auteur theory’s birth was through the French New Wave, which was a group of new French filmmakers during the 1950’s and 1960’s. In the

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    the Auteur Theory There are no rules and regulations when it comes to creativity. The imagination of the artist and the creator determine what guidelines to follow, but that freedom consequently creates controversy when the piece needs to be evaluated for its true value. When French film director Francois Truffaut advocated the Auteur theory in 1954, it greatly influenced film criticism. The Auteur theory states that the director of a motion picture is the primary author of the film and that all

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    The theory of auteurism arose in France in the 1940s “derived from the cinematic theories of André Bazin and Alexandre Astruc and was dubbed by the American film critic Andrew Sarris” (Filmstudies24, 2017). It is a theory focusing on the involvement of directors in films and how they shape these films relating to artistic style, collaboration, and individual creativity. To be recognized as an auteur a director must have a specific defining style to their work, a clear vision that guides the film, and

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    A true representation of history in film is almost impossible to achieve, this is due to the limitations of source materials the filmmakers who create the films have. In the modern day, photographs and video footage of historical events are available but these resources don’t depict everything which has happened. Emotion and what happens in historical events are two of the main things that these resources do not depict, what happens in event and human emotion can only be experienced by either people

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    roamed these places. It traces Japan’s transition from the middle ages to modernity and it gives us a grey view of conflict between man and nature, where man is struggling desperately to survive in a world made more hostile by conflicts among them. The film follows the journey of a Prince, Ashitaka, who was cursed by an animal god turned demon, whom he had slayed. The curse had made him inhumanly strong which would eventually consume and destroy him. This forces him to travel to the land of the demon’s

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    Roman Polanski's Hollywood film Chinatown, directed in 1974, tells the story of Jake Gittes, a private investigator. The film focuses in on the dark reality of corruption behind power hungry men, making this a true neo-noir film. Chinatown reveals a depth narrative allowing the viewer to follow Gittes and uncover the secrets around the water dispute in California. I chose to bring focus to the significance of the male gaze and how this form of power can change and affect our views. The prominent

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    Mulvey Theory

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    After Mulveys theory was published, during the 1980’s many feminists who began to look for the meaning of female spectatorship raised many debates about the male gaze. (Stacey,1994, p24) As Rosemary Betterton enquires, “what kinds of pleasure are offered to women spectators within the forms of representation…which have been mainly by men, for men?” (Betterton, 1985 p4). Similarly, David Rodowick stated, “Mulvey discusses the male star as an object of look but denies him the function of an erotic

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    of looking, viewing, and spectating. Over time, film critics and scholars alike have explored this concept and what drives it. What exactly defines the fascination with looking? What motivates the spectator? What does the object being looked at signify? These are all questions that have been examined and discussed since the beginning of film; however, one question that is still being answered is how gender affects the look. Most psychological theories that have been applied to cinema are centered on

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