LCS march 9th

Introduction to Laura Mulvey's Theories

  • Laura Mulvey is known for her influential essay "Visual Pleasure and Narrative Cinema" published in 1975. This essay popularizes the term "male gaze" in film studies.
  • The term "male gaze" has evolved into a colloquial expression, but Mulvey's original usage is rooted in psychoanalytic theory and focuses on patriarchal filmmaking.

Definition of Patriarchy

  • Patriarchy is defined as a social system where men hold primary power and dominate women. This definition ties into broader discussions regarding race and gender, particularly referencing intersecting dominant/subordinate binaries, as discussed by Patricia Hill Collins.

Key Terms and Concepts

  • Hegemony: A concept referring to the acceptance of societal norms and beliefs that maintain power structures.
  • Repression: The use of force to maintain compliance with these norms.
  • Ideology: A system of beliefs that influences perspectives and behaviors in society.

Mulvey’s Argument

  • Mulvey posits that to create non-patriarchal cinema, feminist alternatives must emerge to counter the prevailing structures of classical Hollywood cinema.
  • Classical Hollywood cinema is defined by its adherence to patriarchal values that depict gender binaries impacting narratives and visual representation in films.

Classical Hollywood Cinema vs. Early Cinema

  • Early Cinema (Early 19th - Early 20th Century):

    • Characterized by the "cinema of attractions," prioritizing visual spectacle over complex narratives.
    • Early films featured simple stories such as "A Trip to the Moon," showcasing technological spectacles rather than intricate storytelling.
    • Visual Spectacle Attributes:
      • Shock, awe, and amazement without a profound narrative structure.
      • Short films, often involving magical illusions and tricks.

  • Classical Hollywood Cinema (Around 1917 - 1960s):

    • Emerged as a narrative-driven filmmaking style that's quintessential to Hollywood and has influenced global cinema.
    • Film narratives focus on characters facing conflicts with defined goals, such as internal psychological struggles or external dramatic challenges.
    • Character Protagonist Dynamics:
      • Characters are actively goal-oriented, causing plot advancement through their decisions rather than being passive recipients of events.

Mulvey's Discussion of Visual Pleasure

  • Mulvey introduces the concept of visual pleasure, divided into two aspects:
    1. Scopophilia:
      • The pleasure derived from looking, associated with voyeurism (unreciprocated looking at characters).
      • This leads to objectification through the lack of recourse for the looked-at person.
    2. Narcissism:
      • Identification with the image, specifically protagonists who drive the story.
      • Viewer’s internal recognition with the active agent of the narrative, typically masculine.

Male Gaze Concept

  • Male Gaze:
    • Refers to the perspective where the film spectator is assumed to be a heterosexual male.
    • Under patriarchal ideology, men are considered active viewers, and women are passive objects.
    • Mulvey asserts that films are produced to facilitate this gaze: the camera often objectifies women rather than encouraging viewer identification with them.

Psychoanalytic Dimensions

  • The anxiety related to gender identity is conceptualized through the lens of castration anxiety, where men, as the dominant group, fear being identified with women (the “other”) and hence prefer objectifying them, diverting attention from their own vulnerabilities.
  • Women often experience narrative condemnation for their actions, reinforcing social norms against feminine agency.

Discussion of Cinematic Examples

  • Mulvey’s use of clips (e.g., from "Rear Window") emphasizes her idea of voyeurism in cinema and the notion that women exist as visual spectacles—not integral narrative forces.
  • Contemporary films like "Transformers" showcase these binary visual pleasures: despite ongoing narrative structures, the visual approach continues to favor the male gaze.

Bell Hooks Critique

  • Bell Hooks’ essay "The Oppositional Gaze: Black Female Spectators" critiques Mulvey's theories by emphasizing race and gender's interplay in film analysis.
  • Hooks argues that feminist film theory often overlooks how race shapes cinematic experience, advocating for an intersectional approach.
  • Hooks emphasizes that not all women (especially women of color) experience cinema homogenously; gender and race complicate identification and interpretation.

Oppositional Gaze

  • Hooks introduces the concept of the oppositional gaze, where viewers, particularly black women, critically engage with cinema, recognizing its reinforcing structures of oppression.
  • She suggests methods of resistance, such as consciously rejecting stereotypical portrayals and seeking out more authentic representations in media.

Conclusion

  • Mulvey's male gaze persists within cinematic discourse, but Hooks highlights the necessity of considering how race also shapes visual pleasure and audience engagement.
  • The ongoing evolution of film, including the emergence of independent filmmakers challenging stereotypes, marks a shift towards a more multifaceted understanding of identity and representation in cinema.