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Desire; the Male Gaze.doc

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Women's Studies
Women's Studies 2283F/G
Andrea Allen

PHALLUS/PHALLOCENTRISM - Mulvey •it is her lack that produces that phallus as a symbolic presence, it is her desire to make good the lack that the phallus signifies women exist only as extension and in relation to the child • •continuing the theoretical approach as well as seeing it as played out •the idea that because women lack the phallus that this drives mens actions because they can embody the phallus but also because they have an anxiety of being castrated or becoming like women •sexuality is seen through this lens women are only an extension and envisioning of the child • •THE GAZE •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 she is an object in reference to the man's gaze, one of this is love or fear • •what films illustrate the author's point about the relationship between the hero, heroine and the story •man comes to free them from exploitation or distress •CINEMA •mainstream vs radical or alternative mainstream film coded the erotic into the language of the dominant • patriarchal order •three lookers: recorder, watcher, participator •goal of cinema is to subsume the recorder and watcher and elevate the participator •cinematic process is innately contradictory - on one hand you have the participators them looking at eachother but you have the watchers and recorders looking at them •law of the father: language of the world, disentangled the child from the mother and enters them into the patriarchal world •authenticity in truth, the watcher identifies with the participatory involves them having a higher sense of awareness - all about relationships of looks Scopophilia: pleasure in looking - arises from pleasure in using another • person as an object of sexual stimulation through sight • - function of sexual instincts •Ego Mirroring: the other demands identification of the ego with the object on the screen through the spectators fascination with and recognition of his like - ego libido • •both have meaning within the symbolic order which articulates desire •desire, language and the castration complex •because of the identification with the father you by proxy have the fear of castration, pleasure from looking but the unpleasure of losing that sexuality and becoming that object WOMEN IN FILM • •sexual object for characters and the audience •signifier of male desire and fantasy •can be visual interrupters passive participant • •gender, power and cinema • - power of protagonist (male) coincides with power of the spectator (active looker) • - protagonist as idealized ego • - possession through identification FEMALE FIGURE AND CASTRATION • • lack of penis and threat of castration •material evidence of castration complex •escape from castration anxiety • - demystification, sadism, and salvific behavior (voyeurism) • - fetishization and overvaluation (scopophilia) KAPLAN • •psychoanalysis • - refl
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