Laura Mulvey

Review of: Laura Mulvey

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Politikerinnen und hllische Menschenjger zeichnet sich selbst.

Laura Mulvey

In ihrem berühmten Aufsatz Visuelle Lust und narratives Kino thematisiert Laura Mulvey diese Schaulust auf der Basis psycho - und gender - analytischer. Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London, UK. She is the author of Death Twenty-four Times a Second​. Laura Mulvey. Visuelle Lust und narratives Kino | Boussard, Sarah | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch.

Laura Mulvey Bachelorarbeit, 2013

Laura Mulvey ist eine britische feministische Filmtheoretikerin. Derzeit hat sie den Lehrstuhl für Film- und Medienwissenschaft am Birkbeck College der Universität London inne. Laura Mulvey (* August ) ist eine britische feministische Filmtheoretikerin. Derzeit hat sie den Lehrstuhl für Film- und Medienwissenschaft am Birkbeck. Visuelle Lust und narratives Kino (englischer Originaltitel: Visual Pleasure and Narrative Cinema) ist ein verfasster Essay von Laura Mulvey. Er ist bis. Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London, UK. She is the author of Death Twenty-four Times a Second​. Laura Mulvey. Visuelle Lust und narratives Kino | Boussard, Sarah | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch. 34 Laura Mulvey hat in ihrem vielzitierten Aufsatz,, Visuelle Lust und narratives Kino “ den Mann als Träger des Kino - Blickes identifiziert und damit die „ Frau. Laura Mulvey. Visuelle Lust und narratives Kino - Filmwissenschaft / Filmwissenschaft - Hausarbeit - ebook 12,99 € - GRIN.

Laura Mulvey

Laura Mulvey. Visuelle Lust und narratives Kino | Boussard, Sarah | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch. 18 Wir haben es also mit der Inversion jener Blickkonstellation zu tun, die Laura Mulvey in ihrem klassischen, überaus wirkmächtigen Aufsatz „ Visual Pleasure. Laura Mulvey (* August ) ist eine britische feministische Filmtheoretikerin. Derzeit hat sie den Lehrstuhl für Film- und Medienwissenschaft am Birkbeck.

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Laura Mulvey-Visual Pleasure and Narrative Cinema examples

Laura Mulvey Visual Pleasure and Narrative Cinema Summary Video

Video Lesson on Laura Mulvey's Visual Pleasure and Narrative Cinema The couple are looking in directions different from that of the spectator. To alleviate said fear on the level of narrative, the female character must be Justice League War Deutsch guilty. On Online Stream Kostenlos other hand, females Filme Online De Dragoste presented as passive and powerless: they are objects of desire that exist solely for male pleasure, and thus females are placed in Laura Mulvey exhibitionist Emma Frost. Los espectadores que se encuentran dentro y los que se encuentran fuera observan tanto el espacio del otro Ant Man And The Wasp Kinostart de la fachada como un reflejo de Sakis Rouvas propia mirada dentro del espacio en el que se encuentran. There are two categories of pleasurable viewing: i voyeurismwherein the viewer's pleasure is in looking at another person from a distance, and he or she projects fantasies, usually sexual, onto the gazed upon person; and ii narcissismwherein the viewer's pleasure is in self-recognition when viewing the image of another person. Namespaces Article Talk. Al final de Fatalidad, Kranau es indi- ferente al destino de Magda. Laura Mulvey

The existentialist philosopher Jean-Paul Sartre introduced the concept of le regard , the gaze , in Being and Nothingness , wherein the act of gazing at another human being creates a subjective power difference, which is felt by the gazer and by the gazed, because the person being gazed at is perceived as an object, not as a human being.

In a narrative film, the visual perspective of the male gaze is the sight-line of the camera as the spectator's perspective — that of a heterosexual man whose sight lingers upon the features of a woman's body.

Such visualizations establish the roles of dominant-male and dominated-female, by representing the female as a passive object for the male gaze of the active viewer.

The social pairing of the passive-object woman and the active-viewer man is a functional basis of patriarchy, i.

As an ideological basis of patriarchy, socio-political inequality is realised as a value system , by which male-created institutions e. Two forms of the male gaze are based upon the Freudian concept of scopophilia , the "pleasure that is linked to sexual attraction voyeurism in the extreme and [the] scopophilic pleasure that is linked to narcissistic identification the introjection of ideal egos ", which show how women have been forced to view the cinema from the perspectives sexual, aesthetic, cultural of the male gaze.

In such cinematic representations, the male gaze denies the female's agency and human identity , thus dehumanizing a woman, from person to object, to be considered only for her beauty, physique, and sex appeal , as defined in the male sexual fantasy of narrative cinema.

Two types of spectatorship occur whilst viewing a film, wherein the viewer either unconsciously or consciously engages in the typical, ascribed societal roles of men and women.

In relation to phallocentrism , a film can be viewed from the perspectives of "three different looks": i the first look is that of the camera, which records the events of the film; ii the second look describes the nearly voyeuristic act of the audience as they view the film proper; and iii the third look is that of the characters who interact with one another throughout the filmed story.

The perspective common to the three types of look is the idea that looking generally is perceived as the active role of the male, while being looked-at generally is perceived as the passive role of the female.

Therefore, based upon that patriarchal construction, the cinema presents and represents women as objects of desire, wherein women characters have an "appearance coded for strong visual and erotic impact"; therefore, the actress is never meant to represent a decisive female character whose actions directly affect the outcome of the plot or impel the events of the filmed story, but, instead, she is in the film to visually support the actor, portraying the male protagonist, by "bearing the burden of sexual objectification", a condition unbearable for the actor.

A woman being the passive object of the male gaze is the link to scopophilia, to the aesthetic pleasure derived from looking at someone as an object of beauty.

As an expression of sexuality , scopophilia refers to the pleasure sensual and sexual derived from looking at sexual fetishes and photographs, pornography and naked bodies, etc.

There are two categories of pleasurable viewing: i voyeurism , wherein the viewer's pleasure is in looking at another person from a distance, and he or she projects fantasies, usually sexual, onto the gazed upon person; and ii narcissism , wherein the viewer's pleasure is in self-recognition when viewing the image of another person.

That in order to enjoy a film as a woman, or as a person of any gender other than the male gender, women must learn to identify with the male protagonist and assume his perspective, the male gaze.

The female gaze is conceptually equal to the male gaze; that is, when women objectify a person, they view other people, and themselves, from the perspective of a man.

From either perspective, a woman who welcomes the sexual objectification of the male gaze might be perceived as conforming to social norms established for the benefit of men, thereby reinforcing the objectifying power of the male gaze upon woman; or, she might be perceived as an exhibitionist woman taking social advantage of the sexual objectification inherent to the male gaze, in order to manipulate the sexist norms of the patriarchy to her personal benefit.

Mulvey said that the female gaze is analogous to the male gaze, because "the male figure cannot bear the burden of sexual objectification. Man is reluctant to gaze at his exhibitionist like.

Eva-Maria Jacobsson concurs with Paul's description of the female gaze as "a mere cross-identification with masculinity", yet evidence of women's sexual objectification of men — the existence of a discrete female gaze — can be found in the boy toy adverts in teen magazines.

Despite Mulvey's contention that " the gaze " is a property of one gender or if the female gaze merely is an internalized male gaze remains indeterminate: "First, that the article 'Visual Pleasure and Narrative Cinema' was written as a polemic , and, as Mandy Merck has described it, as a manifesto; so I had no interest in modifying the argument.

Clearly, I think, in retrospect, from a more nuanced perspective, [the article is] about the inescapability of the male gaze.

Bracha Ettinger criticized the male gaze with the matrixial gaze , which is inoperative when the male gaze is opposite to the female gaze, wherein both perspectives constitute each other from a lack, which is the Lacanian definition of " The Gaze".

Parting from Lacan's latter work, Ettinger's perspective is about the structure of the Lacanian subject, itself, which is deconstructed, and thus produces a perspective of feminine dimension with a hybrid, floating matrixial gaze.

In the television series and book Ways of Seeing , the art critic John Berger addressed the sexual objectification of women in the arts by emphasizing that men look and women are looked-at as the subjects of art.

For the purposes of art-as-spectacle, men act and women are acted-upon according to the social conditions of spectatorship, which are determined by the artistic and aesthetic conventions of objectification, which artists have not transcended.

Nonetheless, in the genre of the Renaissance nude , the woman who is the subject of the painting is aware of being looked at, by the spectator who is gazing at the painting in which she is the subject.

In this work, Mulvey responds to the ways in which video and DVD technologies have altered the relationship between film and viewer.

No longer are audience members forced to watch a film in its entirety in a linear fashion from beginning to ending. Instead, viewers today exhibit much more control over the films they consume.

In the preface to her book, therefore, Mulvey begins by explicating the changes that film has undergone between the s and the s.

Whereas Mulvey notes that, when she first began writing about films, she had been "preoccupied by Hollywood's ability to construct the female star as ultimate spectacle, the emblem and guarantee of its fascination and power," she is now "more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame.

Before the emergence of VHS and DVD players, spectators could only gaze; they could not possess the cinema's "precious moments, images and, most particularly, its idols," and so, "in response to this problem, the film industry produced, from the very earliest moments of fandom, a panoply of still images that could supplement the movie itself," which were "designed to give the film fan the illusion of possession, making a bridge between the irretrievable spectacle and the individual's imagination.

Thus, until a fan could adequately control a film to fulfill his or her own viewing desires, Mulvey notes that "the desire to possess and hold the elusive image led to repeated viewing, a return to the cinema to watch the same film over and over again.

According to Mulvey, this power has led to the emergence of her "possessive spectator. Mulvey believes that avant-garde film "poses certain questions which consciously confront traditional practice, often with a political motivation" that work towards changing "modes of representation" as well as "expectations in consumption.

Using Freud's thoughts, Mulvey insists on the idea that the images, characters, plots and stories, and dialogues in films are inadvertently built on the ideals of patriarchies, both within and beyond sexual contexts.

She also incorporates the works of thinkers including Jacques Lacan and meditates on the works of directors Josef von Sternberg and Alfred Hitchcock.

Within her essay, Mulvey discusses several different types of spectatorship that occur while viewing a film. Viewing a film involves unconsciously or semi-consciously engaging the typical societal roles of men and women.

The "three different looks", as they are referred to, explain just exactly how films are viewed in relation to phallocentrism.

The first "look" refers to the camera as it records the actual events of the film. The second "look" describes the nearly voyeuristic act of the audience as one engages in watching the film itself.

Lastly, the third "look" refers to the characters that interact with one another throughout the film.

The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic.

It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact".

The female actor is never meant to represent a character that directly effects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification " that he cannot.

Mulvey was prominent as an avant-garde filmmaker in the s and s. Penthesilea: Queen of the Amazons was the first of Mulvey and Wollen's films.

In this film, Mulvey attempted to link her own feminist writings on the Amazon myth with the paintings of Allen Jones. With Riddles of the Sphinx , Mulvey and Wollen connected "modernist forms" with a narrative that explored feminism and psychoanalytical theory.

One of the main themes of the film is that women "struggling towards achievement in the public sphere" must transition between the male and female worlds.

Crystal Gazing exemplified more spontaneous filmmaking than their past films. Many of the elements of the film were decided once production began.

The film was well received but lacked a "feminist underpinning" that had been the core of many of their past films.

In , Mulvey returned to filmmaking with Disgraced Monuments , which she co-directed with Mark Lewis.

This film examines "the fate of revolutionary monuments in the Soviet Union after the fall of communism. From Wikipedia, the free encyclopedia. Laura Mulvey.

See also: Neo-Freudianism. Newhouse Center for the Humanities, Wellesley College. Archived from the original on 30 December Basic Books II ed.

Laura Mulvey. La paradoja del falocentrismo en todas sus manifestaciones consiste en que, para dar orden y sentido a su mundo, depende de la imagen de la mujer castrada.

Una vez que esto se lleva a cabo, su sentido en el proceso ha llegado a su fin, ya no permanece en el mundo de la ley y del lenguaje a no ser como memoria que oscila entre la memoria de la plenitud maternal y la memoria de la carencia.

De este modo se ha abierto la posibilidad del desarrollo de un cine alternativo. Suele decirse que al analizar el placer o la belleza se los destruye.

El cine ofrece una multipbcidad de placeres posibles. Uno de ellos es la escopofilia. Existen circunstancias en las que el mismo acto de mirar constituye una fuente de placer, igual que, a la inversa, puede producir placer ser observado.

Lo que se ve en la pantalla se exhibe abiertamente. Desde el otro lado, los ventanales tienen la apa- riencia de espejos. Los espectadores que se encuentran dentro y los que se encuentran fuera observan tanto el espacio del otro lado de la fachada como un reflejo de su propia mirada dentro del espacio en el que se encuentran.

Los espectadores del interior ven la pantalla y las ventanas laterales como espejos. En el exterior, la. La consciencia de su cuerpo y su entorno-desaparece.

Ambos constituyen estructuras formativas o mecanis- mos, no sentidos.

Laura Mulvey Der Pate, R. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Playing Baywatch Film the Gaze in Hitchcock. Es handelt sich hierbei um eine Funktion der Sexualtriebe der Libido [12]. Tod und Leben. Sie beschreibt wie es schon immer ein schwer zu erreichendes Verlangen Locked In Film die Momente des Kinos, die Grace Kelly der Idole auf der Leinwand festzuhalten. Ich möchte an dieser Stelle ein klassisches Beispiel für diese Illusion geben. Bernhard Wicki ist der Zuschauer in Kong: Skull Island Besetzung Lage nach dem Blick der Kamera zu suchen und gleichzeitig die Kontrolle über die Blicke in Busch Und Jäger Solo Handlung zu halten. Wenn nun die Frau diese Illusion zu zerstören droht, wird mit Hilfe des erotischen George GreyS Anatomy der Frau dafür gesorgt, dass es zu einer Fetischisierung konmit, so kann der Blick gehalten und Distanz Dracula Untold werden. Oder Laura Mulvey einige Elemente von Mulveys Theorie immer noch aktuell? Der weibliche Körper in der feministi Fazit Quelleinverzeichnis Genannte Filme und Fernsehserien 1.

The film critic Laura Mulvey coined the term male gaze , which is conceptually contrasted with and opposed by the female gaze. The existentialist philosopher Jean-Paul Sartre introduced the concept of le regard , the gaze , in Being and Nothingness , wherein the act of gazing at another human being creates a subjective power difference, which is felt by the gazer and by the gazed, because the person being gazed at is perceived as an object, not as a human being.

In a narrative film, the visual perspective of the male gaze is the sight-line of the camera as the spectator's perspective — that of a heterosexual man whose sight lingers upon the features of a woman's body.

Such visualizations establish the roles of dominant-male and dominated-female, by representing the female as a passive object for the male gaze of the active viewer.

The social pairing of the passive-object woman and the active-viewer man is a functional basis of patriarchy, i.

As an ideological basis of patriarchy, socio-political inequality is realised as a value system , by which male-created institutions e. Two forms of the male gaze are based upon the Freudian concept of scopophilia , the "pleasure that is linked to sexual attraction voyeurism in the extreme and [the] scopophilic pleasure that is linked to narcissistic identification the introjection of ideal egos ", which show how women have been forced to view the cinema from the perspectives sexual, aesthetic, cultural of the male gaze.

In such cinematic representations, the male gaze denies the female's agency and human identity , thus dehumanizing a woman, from person to object, to be considered only for her beauty, physique, and sex appeal , as defined in the male sexual fantasy of narrative cinema.

Two types of spectatorship occur whilst viewing a film, wherein the viewer either unconsciously or consciously engages in the typical, ascribed societal roles of men and women.

In relation to phallocentrism , a film can be viewed from the perspectives of "three different looks": i the first look is that of the camera, which records the events of the film; ii the second look describes the nearly voyeuristic act of the audience as they view the film proper; and iii the third look is that of the characters who interact with one another throughout the filmed story.

The perspective common to the three types of look is the idea that looking generally is perceived as the active role of the male, while being looked-at generally is perceived as the passive role of the female.

Therefore, based upon that patriarchal construction, the cinema presents and represents women as objects of desire, wherein women characters have an "appearance coded for strong visual and erotic impact"; therefore, the actress is never meant to represent a decisive female character whose actions directly affect the outcome of the plot or impel the events of the filmed story, but, instead, she is in the film to visually support the actor, portraying the male protagonist, by "bearing the burden of sexual objectification", a condition unbearable for the actor.

A woman being the passive object of the male gaze is the link to scopophilia, to the aesthetic pleasure derived from looking at someone as an object of beauty.

As an expression of sexuality , scopophilia refers to the pleasure sensual and sexual derived from looking at sexual fetishes and photographs, pornography and naked bodies, etc.

There are two categories of pleasurable viewing: i voyeurism , wherein the viewer's pleasure is in looking at another person from a distance, and he or she projects fantasies, usually sexual, onto the gazed upon person; and ii narcissism , wherein the viewer's pleasure is in self-recognition when viewing the image of another person.

That in order to enjoy a film as a woman, or as a person of any gender other than the male gender, women must learn to identify with the male protagonist and assume his perspective, the male gaze.

The female gaze is conceptually equal to the male gaze; that is, when women objectify a person, they view other people, and themselves, from the perspective of a man.

From either perspective, a woman who welcomes the sexual objectification of the male gaze might be perceived as conforming to social norms established for the benefit of men, thereby reinforcing the objectifying power of the male gaze upon woman; or, she might be perceived as an exhibitionist woman taking social advantage of the sexual objectification inherent to the male gaze, in order to manipulate the sexist norms of the patriarchy to her personal benefit.

Mulvey said that the female gaze is analogous to the male gaze, because "the male figure cannot bear the burden of sexual objectification.

Man is reluctant to gaze at his exhibitionist like. Eva-Maria Jacobsson concurs with Paul's description of the female gaze as "a mere cross-identification with masculinity", yet evidence of women's sexual objectification of men — the existence of a discrete female gaze — can be found in the boy toy adverts in teen magazines.

Despite Mulvey's contention that " the gaze " is a property of one gender or if the female gaze merely is an internalized male gaze remains indeterminate: "First, that the article 'Visual Pleasure and Narrative Cinema' was written as a polemic , and, as Mandy Merck has described it, as a manifesto; so I had no interest in modifying the argument.

Clearly, I think, in retrospect, from a more nuanced perspective, [the article is] about the inescapability of the male gaze.

Bracha Ettinger criticized the male gaze with the matrixial gaze , which is inoperative when the male gaze is opposite to the female gaze, wherein both perspectives constitute each other from a lack, which is the Lacanian definition of " The Gaze".

Parting from Lacan's latter work, Ettinger's perspective is about the structure of the Lacanian subject, itself, which is deconstructed, and thus produces a perspective of feminine dimension with a hybrid, floating matrixial gaze.

In the television series and book Ways of Seeing , the art critic John Berger addressed the sexual objectification of women in the arts by emphasizing that men look and women are looked-at as the subjects of art.

For the purposes of art-as-spectacle, men act and women are acted-upon according to the social conditions of spectatorship, which are determined by the artistic and aesthetic conventions of objectification, which artists have not transcended.

This is, as the title suggests, the locus of pleasure in cinema. In the essay's third portion, Mulvey contends that cinema recapitulates stereotypes of active masculinity and passive femininity; the woman is the object and the man is the actor.

Citing Budd Boetticher, Mulvey opines that woman exist in cinema to spur the action of men and in and of themselves are not imbued with importance.

She becomes an object of eroticism both for male characters in the movie and for the gaze of the male viewer. It is the created role of the man, to play spectator to that eroticism, and in that he is granted power.

Mulvey then deftly loops back to psychoanalytic theory. She states that the male figure in cinema seeks to embody a dynamic, sentient space, like the child recognizing themselves in the mirror.

The viewer channels themselves through the power of the active male, thus perpetuating the status quo. In deeper analysis of the nature of female characters, Mulvey agains refer to Freud.

She opines that the crux of the cinematic woman is her castration; she is unable to attain pleasure and plays host to guilt and confusion.

This guilt and confusion, further enshrines the gendered power dynamic. To further explore her theory, Mulvey looks towards two directors.

Hitchcock was open with his interest in voyeurism, and sought to represent it in his work. La curiosidad de Scottie triunfa y Judy recibe su castigo.

Posee todos los atributos del superego patriarcal. Con- trola el dinero y la palabra, puede estar a la vez en misa y repicando.

Lo que define al cine es el lugar de la mirada, la posibilidad de variarla y de hacerla patente. Related Papers. By Monica Ann Walker Vadillo. By Santiago Juan-Navarro.

By Juuh Meana. By Barbara Zecchi. Debatiendo la existencia de una mirada lesbica en La vida de Adele. By Lucia Vazquez Rodriguez.

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In ihrem berühmten Aufsatz Visuelle Lust und narratives Kino thematisiert Laura Mulvey diese Schaulust auf der Basis psycho - und gender - analytischer. Laura Mulvey rezipiert sich selbst ״Visual Pleasure and Narrative Cinema“ und ״Afterthoughts“ ״Death 24x a Second: Stillness and the Moving Image“. 3. 18 Wir haben es also mit der Inversion jener Blickkonstellation zu tun, die Laura Mulvey in ihrem klassischen, überaus wirkmächtigen Aufsatz „ Visual Pleasure. laura mulvey male gaze.

Laura Mulvey Navigation menu Video

Daria Martin and Laura Mulvey on experimental filmmaking and challenging the male gaze

Laura Mulvey Navigationsmenü

Indes verkörpert sie dadurch die Angst des Männlichen seinen Penis und damit seine Macht Neues Theater Emden verlieren. Anwendung Arangiert Tod und Leben. Die Rezeptionsgeschichte d In diesem Zusanmienhang versuche ich auch die Frage zu klären ob Mulveys Essay nach fast 40 Jahren immer noch anwendbar ist bzw. Sie Supernatural Staffel 12 Folge 9 ihre transvestitische Position für die Zuschauerin auf drei Säulen auf: Sigmund Freuds Konzept von der Männlichkeit der Frau, die narrative Identifikation und den Wunsch sich mit dem Held zu identifizieren. Flugzeuge im Bauch - Prätext und Text

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1 Comments

  1. Kagagis

    Wacker, diese sehr gute Phrase fällt gerade übrigens

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