Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility...
Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility to the generative qualities of this key essay.
In this book, the celebrated New York-based video artist Rachel Rose (born 1986) has produced an innovative work that extends and adds to the essay’s frame of reference. Drawing on 18th- and 19th-century fairy tales, and observing how their flat narratives matched the flatness of their depictions, Rose created collages that connect these pre-cinematic illustrations to what Mulvey describes in her essay-cinema flattening sexuality into visuality.
The cinema satisfies a primordial wish for pleasurable looking, but it also goes further, developing scopophilia in its narcissistic aspect. The conventions of mainstream film focus attention on the human form. Scale, space, stories are all anthropomorphic. Here, curiosity and the wish to look intermingle with a fascination with likeness and recognition: the human face, the human body, the relatioship between the human form and its surroundings, the visible presence of the person in the world. Jacques Lacan has described how the moment when a child recognises its own image in the mirror is crucial for the constitution of the ego. Several aspects of this analysis are relevant here. The mirror phase occurs at a time when the child's physical ambitions outstrip his motor capacity, with the re... (查看原文)
This is a moment when an older fascination with looking (at the mother's face, for an obvious example) collides with the initial inklings of self-awareness. (查看原文)
两种基于assumed male spectatorship的visual pleasure：scopophilia and identification。两种模式：fetishistic and voyeuristic。课本里解读说延伸出why women might find pleasure in these films is because the society trains us to...两种基于assumed male spectatorship的visual pleasure：scopophilia and identification。两种模式：fetishistic and voyeuristic。课本里解读说延伸出why women might find pleasure in these films is because the society trains us to view as men. True但是我并没有觉得原文有这一层意思，更多的是作为单纯的binary来解读，我个人认为问题在于essentialist tendencies需要take into account class and race来讨论而并不是单单的男女对立(展开)
Laura Mulvey Visual Pleasure and Narrative cinema 1. The intention of this article is to use psychoanalysis to locate where/how the fascination of film is strengthened by the long-existed facination. The sexual difference, unconsious patriarchal society are...
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I Introduction A. A Political Use of Psychoanalysis The paradox of phallocentrism in all its manifestations is that it depends on the image of the castrated woman to give order and meaning to its world. An idea of woman stands as lynch pin to the system: it...
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Visual Pleasure and Narrative Cinema was written by Laura Mulvey in 1975. It played an important role in the field of cultural studies by initially introducing the concept of ‘Male Gaze’, which has been widely used to analyze and examine various phenomena...
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真momo
GRIN Verlag2008版
BatterOnBacon
GRIN Verlag2008版
大板牙
GRIN Verlag2008版
1 有用 沉默之岛 2022-09-18 12:17:28 中国香港
超好看，即便今天《尚气》啥的也是这样的模式，女性的缺席与记忆的在场
0 有用 6ans 2023-05-01 15:00:03 美国
两种基于assumed male spectatorship的visual pleasure：scopophilia and identification。两种模式：fetishistic and voyeuristic。课本里解读说延伸出why women might find pleasure in these films is because the society trains us to... 两种基于assumed male spectatorship的visual pleasure：scopophilia and identification。两种模式：fetishistic and voyeuristic。课本里解读说延伸出why women might find pleasure in these films is because the society trains us to view as men. True但是我并没有觉得原文有这一层意思，更多的是作为单纯的binary来解读，我个人认为问题在于essentialist tendencies需要take into account class and race来讨论而并不是单单的男女对立 (展开)
0 有用 杜拉斯白 2024-09-19 16:47:50 四川
Male gaze
0 有用 Greta. 2024-04-08 20:59:02 上海
wow
0 有用 ✧ 2021-10-05 00:08:33
as an example of "lens" / designed by Sara de Bondt