The eyes are used as sexual foreplay. “Since sight is the sense by which human beings are mainly guided, we must regard it as the chief agent in the production of fore pleasure, through all the same time, we must remember that it is precisely in the realm of sensuality that the so-called lower senses are most prominent” (Fenichel, 1999). The definition of Scopophilia is the pleasure of looking. This definition could coincide with Chapter Twenty-Five, where Mulvey discusses visual pleasure and narrative cinema. In Chapter Twenty-Five Mulvey discusses the pleasures of looking, and how film producers utilize this to create films. Mulvey explains that the instinct of looking can be defined as the “construction of ego, it continues to exist as the erotic basis for pleasure in looking at another person or object” (Mulvey, 1999). Mulvey explains that the viewer seeks satisfaction in a dark auditorium, and the contrast between the light and dark stimulate an illusion of “voyeuristic separation” (Mulvey, 1999). The women in the films are displayed as sexual objects and
The eyes are used as sexual foreplay. “Since sight is the sense by which human beings are mainly guided, we must regard it as the chief agent in the production of fore pleasure, through all the same time, we must remember that it is precisely in the realm of sensuality that the so-called lower senses are most prominent” (Fenichel, 1999). The definition of Scopophilia is the pleasure of looking. This definition could coincide with Chapter Twenty-Five, where Mulvey discusses visual pleasure and narrative cinema. In Chapter Twenty-Five Mulvey discusses the pleasures of looking, and how film producers utilize this to create films. Mulvey explains that the instinct of looking can be defined as the “construction of ego, it continues to exist as the erotic basis for pleasure in looking at another person or object” (Mulvey, 1999). Mulvey explains that the viewer seeks satisfaction in a dark auditorium, and the contrast between the light and dark stimulate an illusion of “voyeuristic separation” (Mulvey, 1999). The women in the films are displayed as sexual objects and