Laura Mulvey, Visual Pleasure and Narrative Cinema

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Contents

  1. Visual Pleasure and Narrative Cinema Background
  2. Laura Mulvey: Visual Pleasure and Narrative Cinema by Niki Schneider on Prezi

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While male hero is the target of identification, female characters are the absolute objects of scopophilia. Female charachter is a sign of unconscious fears; thus films have specific methods for dealing with this fear, which can be seen as passivity and weakness of woman or punishment for woman.

Laura Mulvey-Visual Pleasure and Narrative Cinema examples

With the act of voyeurism, the female figure can be watched, unveiled and demystified; which is very related with, for Mulvey, Hitchcock films like Vertigo , Rear Window , Marnie In conclusion, among all the interpretations of womanhood in films, Mulvey does not neglect to solve this problem. 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.

Visual Pleasure and Narrative Cinema Background

Mulvey, L. Become a member. Sign in. Get started.

Laura Mulvey: Visual Pleasure and Narrative Cinema by Niki Schneider on Prezi

Writing sociology, film theory, technology, llamas and jelly beans. First one is scopophilia, that can be defined as pleasure produced by looking at another, that is apart from the self; and it mostly has a voyeuristic charachter. According to Mulvey, they are both gendered.

go They represents the controlling power of the male character as well as the objectified and stereotyped representation of the female character. While male hero is the target of identification, female characters are the absolute objects of scopophilia. Female charachter is a sign of unconscious fears; thus films have specific methods for dealing with this fear, which can be seen as passivity and weakness of woman or punishment for woman.

The Male Gaze Theory

With the act of voyeurism, the female figure can be watched, unveiled and demystified; which is very related with, for Mulvey, Hitchcock films like Vertigo , Rear Window , Marnie In conclusion, among all the interpretations of womanhood in films, Mulvey does not neglect to solve this problem.

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. Mulvey, L. Become a member.


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