Free Laura Mulvey Essays and Papers

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Free Laura Mulvey Essays and Papers

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    Feminist film theorist, Laura Mulvey, refuses to use classicism. She structures her film, Riddles of the Sphinx, through modernism. Mulvey believes that classicism is built for the male’s pleasure. This attraction can be explained through the term scopophilia, the pleasure of looking. Society has limits, but films can explore these desires according to Mulvey. She also expresses the desire of narcissism, being in love with yourself. Narcissistic visual pleasure can be derived from self-identification

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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

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    focus to the significance of the male gaze and how this form of power can change and affect our views. The prominent female character in the film, Evelyn Mulwray, is a wealthy white woman. With her character comes active male attention and desire. Laura Mulvey's Theory of "The Gaze" supports this argument by studying the power and influence of a patriarchal society. With the support of Mulvey's theories I will describe three scenes in the film that reflect this gaze. The first example is when Evelyn

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    thoroughly examined in two articles, one by Laura Mulvey and the other by Constance Penley, located in “The Nature of the Gaze” section of Robert Stam and Toby Miller’s, Film and Theory: An Anthology. Here, both authors tackle the issue of sexual difference by challenging theories that have already been established by Sigmund Freud, Jacques Lacan, Christian Metz, and Jean-Louis Baudry. In her article, “Visual Pleasure and Narrative Cinema” (1975), Laura Mulvey approaches the fascination with looking

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    The Piano by Jane Campion

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    Critical analysis on The Piano 1993 In my discussion I will talk about Jane Campion’s film, The Piano 1993, in this case I would argue for and against Laura Mulvey’s essay, and to define where her theorist brings awareness and where it collapses. I will also introduce Vivian Sobchack ‘What my fingers knew’ to argue against Mulvey’s argument. In Laura Mulveys essay, she argues that, women are the sexual objects that the male has control over the gaze, in this case I agree with her, famous Hitchcock films

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    Male Gaze

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    movement in the 1970’s, this paper will reflect on women expressing their views about photography, cinema and the arts all pertaining to the male gaze and will include artists such as Cindy Sherman and Artemisia Gentileschi. Along with feminists, Laura Mulvey and feminist scholar Mary D. Garrard. Each of these women has an important argument along the lines of the male gaze. The male gaze in photography, cinema, and the arts, objectify women in their femininity, sexual identity, and in society. A woman’s

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    The Truman Show vs Rear Window

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    What are the issues of watching and voyeurism in film? The intention of this essay is to discuss both films (The Truman Show, 1998 and Rear Window, 1954) alongside established theoretical criticism (Laura Mulvey and Norman K. Denzin) in an attempt to demonstrate how the issues of watching and voyeurism, as seen in todays mainstream Hollywood cinema, both engages and entices the spectator and to look at how the definition of the voyeur has changed. Before entering into a discussion about voyeurism

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    Film vs Literature

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    Chatman focuses too heavily on narrative drive and, in saying that film cannot describe, does not give full merit to the idea of returning to and repeating a film for purpose of textual analysis. In direct contrast to Chatman’s views are those of Laura Mulvey. In her book “Death 24x a Second,” she champions the delay of film as a way to inscribe significance onto the piece. This delay is achieved mostly through the act of rewatching scenes or freezing frames to parse through some of the more subtle

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    Feminism In Vertigo

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    A foundational argument made in “Visual Pleasure and Narrative Cinema” (1975) by the well-known feminist film theorist Laura Mulvey posits that in cinema the ability to subject another person to the will sadistically, or to the gaze voyeuristically, is turned onto the woman as the object of both (23). Mulvey asserts that the female figure as cinematic icon is ultimately representative of sexual difference, a signifier of the male castration complex. The woman is “displayed for the gaze and enjoyment

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    Rosenblith Massood Film 3122 According to Laura Mulvey, women function on two levels in Hollywood classical cinema: as an erotic object for the character in the diegesis, and as an erotic object for the spectators in the theater. Explain Mulvey’s argument and apply it to either Klute or Jeanne Dielman. (your answer should not be confined only to examples of men looking at women, but may also consider the possibility of women looking at women.) If Mulvey is correct, can women ever function as active

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