Feminist film theory

http://en.wikipedia.org/wiki/Feminist_film_theory

http://www.ejumpcut.org/archive/jc46.2003/marchetti.dai/index.html

http://en.wikipedia.org/wiki/Laura_Mulvey

http://en.wikipedia.org/wiki/Griselda_Pollock

The gaze and the female spectator

In considering the way that films are put together, many feminist film critics have pointed to the “male gaze” that predominates in classical Hollywood filmmaking. Budd Boetticher summarises the view thus: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.”  Laura Mulvey‘s germinal essay “Visual Pleasure and Narrative Cinema” (written in 1973 and published in 1975) expands on this conception of the passive role of women in cinema to argue that film provides visual pleasure through scopophilia,  and identification with the on-screen male actor. She asserts: “In their 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 to-be-looked-at-ness

.wikipedia.org/wiki/Feminist_film_theory

*photo (“Camera Obscura: A Journal of Feminist and Film Theory: 2″/”Art as Healing” by Edward Adamson), 1998-2007  Robert Buck

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