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)
Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret.
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
大板牙
GRIN Verlag2008版
0 有用 十六 2023-04-25 02:06:38 上海
好经典，读完之后才发现原来现在的一些想法出处是这里。电影里女性角色怎样被看的，又因为freud所建构的castration anxiety而分为两种类型—赋予她trauma又或者fetish scopophilia；男性角色如何被看的（mirror moment），相当于是理想的自我的映射，以及他们的作用。以及男性角色对女性角色的看和观众透过男性角色而对女性角色的看。（但现在很好奇的是male g... 好经典，读完之后才发现原来现在的一些想法出处是这里。电影里女性角色怎样被看的，又因为freud所建构的castration anxiety而分为两种类型—赋予她trauma又或者fetish scopophilia；男性角色如何被看的（mirror moment），相当于是理想的自我的映射，以及他们的作用。以及男性角色对女性角色的看和观众透过男性角色而对女性角色的看。（但现在很好奇的是male gaze和lesbian gaze类似吗，又会有什么不同 (展开)
5 有用 禁 2019-10-24 09:49:10
几十年不衰减的引用量足以证明这是一篇伟大且充满争议的文章。通过引用弗洛伊德精神分析，分析了传统好莱坞电影带来的两种视觉快感：scopophilic voyeurism与narcissistic identification。前者是隐藏于暗处（银幕外黑暗）的偷窥快感，后者是自我中心理想化的银幕投射。对我最大的启发是，将俄狄浦斯情结的castration anxiety类比到男性凝视中，并将解决这种焦... 几十年不衰减的引用量足以证明这是一篇伟大且充满争议的文章。通过引用弗洛伊德精神分析，分析了传统好莱坞电影带来的两种视觉快感：scopophilic voyeurism与narcissistic identification。前者是隐藏于暗处（银幕外黑暗）的偷窥快感，后者是自我中心理想化的银幕投射。对我最大的启发是，将俄狄浦斯情结的castration anxiety类比到男性凝视中，并将解决这种焦虑的方法归结于希区柯克式的sadistic voyeurism和Sternberg式的fetishistic scopophilia。对male gaze的分析是开创先例且非常老练的，在这之后关于种族性别的gaze讨论，全都绕不过Mulvey。 (展开)
1 有用 franco22 2022-11-16 22:26:01 北京
Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret.
0 有用 sputnikrose 2023-07-12 23:53:30 上海
I don’t think it matters that much. psychoanalysis is definitely expanding but also invading cinema.
1 有用 絵空事 2022-11-16 11:38:31 英国
Female body as materialised phantasmatic/imaginary spatial structure