“The film is constructed in a manner that allows the spectator to feel the female experience,” she explained. The female gaze is a feminist film theoretical term representing the gaze of the female viewer. The concept was first developed by feminist film critic Laura Mulvey in her 1975 essay entitled “Visual Pleasure and Narrative Cinema”. The male gaze consists of three different gazes: Psychoanalysis entered into film theory in the 1970s with Laura Mulvey’s seminal paper Visual Pleasure in Narrative Cinema (1975). If the gaze is the perspective of a story through a woman’s eyes, perhaps it is more emotional or intimate or transparent. Initially, its core concepts: the id (the primal, impulsive and selfish part of the psyche), the ego (the realistic mediator between id and super-ego) and the super-ego (the moral conscience) were established by Sigmund Freud (Freud,… After reading her essay “Visual Pleasure and Narrative Cinema”, I began to look at the film industry in a new light. There is a lot of looking. "Male gaze" is a term coined by film critic Laura Mulvey to describe the cinematic angle of a heterosexual male on a female character. What has emerged is a complex set of ideas dealing with the gendered structure of representation in film, along with criticism of what Laura Mulvey (feminist film critic) has termed the ‘male gaze’ – how classic cinema employs essentially patriarchal narratives and visual techniques to fetishise women according to phallocentric values. A post by Sugar Spice brought to my attention the writings of Laura Mulvey, the film theorist who first came up with the idea of a male gaze in cinema. Rather than being the spectator's look of (illusory and deceptive) mastery, it is the point in the film image where this mastery fails. The film is constructed with lesbian representation in mind through careful interrogation of the lesbian gaze. The Real Gaze develops a new theory of the cinema by rethinking the concept of the gaze, which has long been central in film theory. What is the “male gaze”? A fantastic new retrospective series at Lincoln Center examines the work of women cinematographers, … The gaze, as Copjec explains it, is not on the side of the looking subject; it is an objective gaze, a point on—or, rather, absent from—the film screen. The late French film director, photographer, and artist Agnès Varda’s 1962 film Cléo from 5 to 7 is a classic take on the female gaze. The Value of the ‘Female Gaze’ in Film. Historically film scholars have located the gaze on the side of the spectator; however, Todd McGowan positions it within the filmic image, where it has the radical potential to disrupt the spectator's sense of identity and challenge the found Erika Balsom from Cinema Scope listed the necessary ingredients for a female-gaze film. The “male gaze” is the way visual arts depict the world and women from a masculine (usually a white, heterosexual male) point of view. The technology of movies is a topic we have briefly touched upon in class and on the blogs.

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