Laura Mulvey Visual Pleasure And Narrative Cinema Summary PdfBy Lessballprefer1958 In and pdf 29.04.2021 at 18:17 9 min read
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She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance. A woman performs within the narrative, the gaze of the spectator and that of the male characters in the film are neatly combined without breaking narrative verisimilitude.
- A Critical Review of Laura Mulvey’s Work: ‘Visual Pleasure and Narrative Cinema (1975)’
- Laura Mulvey
- Visual and Other Pleasures
Email Address:. This process is both displayed and reinforced in the cinema. For Mulvey identification is always with the male point of view, even for the female audience, and female characters are always subject to the controlling male gaze. Male protagonists and audiences are active, female characters and spectators are passive. The female body exists for the pleasure of the male gaze.
A Critical Review of Laura Mulvey’s Work: ‘Visual Pleasure and Narrative Cinema (1975)’
Way back in the 70s and 80s, Laura Mulvey, Susan McClary, Catherine Clement and plenty of other feminist theorists showed how artworks cut up, dehumanized, eliminated, and often just straight up killed both women characters and feminized compositional features, and that this treatment of women and feminized compositional features worked, both narratively and formally, to produce pleasurable aesthetic experiences. And what does it see? What does the protagonist in the film enjoy? It generates the dissonance tension that we then enjoy hearing resolved, harmonically. So the feminized compositional element—chromatic dissonance—has to be highlighted, called forth, made obvious so that it can then be eliminated via tonal resolution, for you music theory nerds.
In this essay, film theorist Laura Mulvey argues that mainstream film form is based on a patriarchal unconscious which derives pleasure from voyeurism and narcissism. Although she argues from a stately feminist perspective, she seems to assume a male audience as the norm, a decidedly unfeminist method, which maintains female as other. Mulvey also advocates for another kind of cinema, something avant-garde and feminine. She argues that since film is an advanced system of representation like language and the unconscious , the structure of mainstream film reflects and reinforces the prevailing patriarchy which is structured by the desires of man. Feminism should thus be very interested in an alternate type of film which reflects a different societal structure. In other words, in mainstream film for example women are there to be looked at by men. She argues that to avoid this anxiety, the image of woman can either be viewed with fetishistic scopophilia or sadistic voyeurism.
In her "Visual Pleasure and Narrative Cinema" Laura Mulvey utilizes psychoanalysis theory as a "political weapon" to demonstrate how the patriarchic subconscious of society shapes our film watching experience and cinema itself. According to Mulvey the cinematic text is organized along lines that are corresponding to the cultural subconscious with is essentially patriarchic. Mulvey argues that the popularity of Hollywood films is determined and reinforced by preexisting social patterns which have shaped the fascinated subject. Mulvey's analysis in "Visual Pleasure and Narrative Cinema" combines semiotic methodology of cinematic means of expression with psychoanalytic analysis of desire structures and the formation of subjectivity. The semiotic end of Mulvey's analysis enables the deciphering of how films produce the meanings they produce, while the psychoanalytic side of the article provides the link between the cinematic text and the viewer and explains his fascination through the way cinematic representations interact with his culturally determined subconscious.
Visual and Other Pleasures
Он был уверен, что все сделал вовремя, и усмехнулся. Он не сомневался в своей победе, не зная, что опоздал. Я всегда добиваюсь своей цели, - подумал Стратмор. Не обращая внимания на пролом в стене, он подошел к электронной двери.
- Я плохо себя чувствую. - Он знал, что должен буквально вдавиться в пол. И вдруг увидел знакомый силуэт в проходе между скамьями сбоку.
Visual Pleasure and Narrative. Cinema*.. *Written in and published in in Screen. . Monroe's first appearance in The River of No Return and Lauren Bacall's the look is central to the plot, oscillating between voyeurism and R. W. Fassbinder, 'Six Films by Douglas Sirk', Halliday and Mulvey (eds).