“The presence of woman is an indispensable element of spectacle in normal narrative film‚ yet her visual presence tends to work against the development of a story-line‚ to freeze the flow of action in moment of erotic contemplation” (Laura Mulvey‚ “Visual Pleasure and Narrative Cinema”). Discuss the significance of this observation in relation to one or more narrative films. Laura Mulvey’s essay appeared for the first time in “Screen” in 1975 and immediately created quite heated debate that continues
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The cold harsh winds of the winter whistled through the ranch. Nothing moved‚ the grounds lay bare the only sign of life was an illuminated window on the far side of the silent ranch. The light came from a small wooden shack; the shack appeared newer than the rest of the weather worn buildings‚ it also looked better cared for than the other buildings. Next to the shack was a small garden and in it were gravestones. Two were lined side by side‚ but another sat lonely in the corner of the garden. The
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themselves: thinking‚ moving‚ living subjects and not men’s objects. Quentin Tarantino’s Death Proof [1]is a thriller inspired by American independent ‘grind house’ exploitation and B movies of the sixties and seventies.[2] Is the audience’s gaze throughout male or female? Is the gender representation patriarchal or feminist? Will both or either feel pleasure in watching it? Can this film be considered a feminist film? At first glance‚ Death Proof is a patriarchal narrative‚ supported
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Thesis Statement Exploring the cinematic gaze and its relevance to contemporary audience. Nurfarahin Amir 10249 (+65)93252485 vultures@live.com A research paper submitted in partial fulfillment of the requirement for the
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According to Graham Clarke‚ “The gaze’ is more than a look. . . [i]t implies power‚ but it also implies the voyeuristic and the fetishistic: primary terms of reference in which a body is subjected to assumptions which have nothing to do with its individuality; its uniqueness in terms of the person‚ rather than the image‚ being photographed” (Clarke). The male figure is likely videoing her specifically for the male heterosexual gaze and to bring upon titillation in the viewer‚ rather
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to attract both a female and male gaze. Looking at the font‚ there has been an added effect on the brand name which makes it look as if the font is glittering in the light. This links to a feminine stereotype that women like diamond sparkly jewellery. Compared to the male advert‚ that font doesn’t have any particular effect that stands out to the audience. The ‘Gucci Guilty’ Fragrance below is a women’s fragrance. This is made obvious by the female model’s gaze is straight into the camera lens‚
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In the two movies of the week Some Like it Hot by Billy Wilder and My Week with Marilyn by Simon Curtis The idea of the gaze was presented heavily in many scenes in both movies. Marilyn Monroe is well known for playing the role of the sexy‚ erotic goddess that attract both the attention of men and women‚ audience and cast. Marilyn Monroe was portrayed in both movies as a character that directors apply the idea of selective use on‚ In other words she was selected to play certain characters and personas
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word “gaze” display the power of these men‚ but the female
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John Marsden’s and Shaun Tan’s epic picture book‚ “The Rabbits”‚ is an allegorical fable about colonisation‚ told from the perspective of the natives. An unseen narrator describes the coming of ‘rabbits’ in the most minimal detail‚ an encounter that is at first friendly and curious‚ but later darkens as it becomes apparent that the visitors are actually invaders. My chosen image (above)‚ embodies the overall style of the book which is deliberately sparse and strange. Both text and image conveys an
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The subjects in these two paintings have gleamy eyes ‚ projecting a powerful and direct gaze back at the viewer and water flowing from their faces. The light and neon colour that is projected from the subject’s face downwards from their foreheads exposes the imperfections on the subject’s skin. As Low claims‚ Sophia Kamal’s artwork is portrayed in a way where bright lights are used as an element to “…represent(ing) water — shines on a woman’s face‚ revealing her imperfections” . Having said this
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