421:'s Barbie as she becomes sentient, leaving Barbieland to go to the 'real world,' where she experiences for the first time the patriarchy and sexual objectification. In the film, Margot Robbie's Barbie realizes the full extent of what it means to be seen as an object and the implications of living in a patriarchal society, something absent in the utopia of Barbieland. During a scene when Barbie is crying after realizing the full extent of what it means to live in a patriarchal world, the narrator breaks the fourth wall by addressing how, during this scene of vulnerability and defeat experienced by Barbie, the audience instead readily acknowledges how beautiful Margot Robbie looks while crying before they will recognize her character's feelings. Rejecting, or similarly recognizing, the audience will acknowledge her beauty before empathizing with her struggles as a woman through the verbal assertion made by the film's narrator.
285:, in their keynote address, explored the definition of the female gaze in film-making. Specifically, Soloway outlined three concepts, mimicking Laura Mulvey's original triangulation of the male gaze (the spectator, the filmmaker, and the actors). Soloway's conception of the female gaze goes beyond a mere inversion of Mulvey's male gaze, however, and instead imagines the ways in which the female gaze in filmmaking can provide insight into the lived female experience. Their concept includes "the feeling camera" (or "bodies over equipment" wherein emotions are prioritized over action); "the gazed gaze," which shows viewers how it feels to be the object of the gaze; and "returning the gaze" (or "I see you seeing me" and "how it feels to stand here in this world having been seen our entire lives").
483:, which focuses on the stories of lesbians coming out in the 1950s. According to Dirse, in this film the feminist, lesbian directors managed to subvert the male gaze in favor of the female one; creating a view in which the actors are not objects of male desire, but of female desire. She argues that when there are feminist filmmakers, the film creates feminist elements. She argues that it is crucial for women to take control of their art in order to accurately reproduce the female gaze.
398:, displays this concept during a scene in which the protagonist, Mr. Darcy, admits timidly with hesitance to Elizabeth Bennet his captivation and affection for her in a manner that is contrary to the grandeur professions of love seen in the romance genre. During his declaration of love, the camera's angle makes the viewer appear as the subject of Mr. Darcy's love confession. The direct camera angle allows us, the audience, to know what it may feel like to be the object of his gaze.
551:'s three main concepts of the 'female gaze' in film rely heavily on the emotional environment created by the director. The underrepresentation of women behind the camera in film and television limits the application of her main principles of the 'female gaze.' This gaze is implemented less in terms of the narrative outcomes or the final product; instead, it depends on how it is produced and curated, often by the director and cinematographer. As discussed in
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film industry. According to her, women are often shut out of the film industry due to its profitable nature. This creates a lack of women producing for the female viewer or reproducing the female gaze. She uses examples of excerpts from films to explore the need for female directors and technical crew in properly reproducing the female gaze. One example she gives is that of the 1992 documentary
521:, for example, Mike only becomes a love interest after he quits his job as a stripper, thus making Mike a sex object and love interest, but not both, thus creating sex negativity. She argued that progress towards equality will be made when both men and women can move freely between the position of subject and object; not when men are objectified just as women have been.
186:, are regarded as comical yet they catch the viewer's eye without sexualizing. Cohen also analyzes the relationship between the female lead stars of these films and their male co-stars. She states that these films truly depict what women want, that they are accentualized in a positive manner and have a partner who amplifies this accentuation.
146:, Dirse was in a crowd and observed being noticed by the men around her. At first they seemed curious, and Dirse wondered if it was because of her gender or the fact that she had a camera. It was not long before they began to push past her, and she felt a sense of danger that she felt other women in Cairo shared. This is depicted in her film,
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and a source of pleasure for the male viewer, leading female viewers towards hyper-desirability gaze of the bodies of the male characters, and pushing the female audience to desire the powerful, violent male body rather than fear it. Examples that she gives are the way in which the body of both Jacob
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when enacting this gaze. Sex negativity occurs when men are trapped as solely sex objects. Chick flicks that cast their male leads solely as sex objects for the female viewers, according to
Perfetti-Oates, serve to reverse gender discrimination rather than creating gender equality. Oates explains how
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series as retrograde and naïve in its use of romance conventions. To explain how the female gaze works to create violent male bodies as desirable, she looked back on the work of Mulvey. Specifically, she focused on the notion of "fetishistic scopophilia" that was previously used by Mulvey to explain
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on the other hand, she argues, provides a model for future feminist television. The show follows Issa and her friend Molly and focuses on the self-defeating impulses in their personal and professional relationships. The story line also focuses on Issa's job working with at-risk youth, which helps in
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Masterclass, Soloway outlined three key concepts in their theory of the female gaze: "feeling seeing," "the gazed gaze," and "returning the gaze." In film and media, 'feeling seeing' refers to a process of filmmaking that makes the camera subjective. The 'gazed gaze' creates the perspective of being
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also criticized the reproduction of the female gaze and the under-representation of women in technical areas of film making. Using her experience in the documentary genre, she focused on the female gaze at the point of production. Dirse focused on the dominance of the white middle class male in the
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Like the male gaze, the female gaze is not without its detractors as in "No Such Thing Not Yet: Questioning
Television Female Gaze", Caetlin Benson-Allot discussed the lack of representation of minorities in the female gaze. She argues that although the female gaze presumes a universal experience
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essay "Visual
Pleasure and Narrative Media," within the film and media sphere, men make up the majority of directors, cinematographers, and camera crew, limiting the aspects in which the female gaze gets produced," the underrepresentation of the female perspective on screen is tied to the female
385:, the unnamed protagonist breaks the fourth wall during moments when she is not revealing the full extent of her beliefs or emotions to other characters within the show, instead relaying her inner thoughts, feelings, and emotions to the audience through eye contact directly in the camera lens.
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The female gaze looks at three viewpoints: the individual who is filming, the characters within the film, and the spectator. These three viewpoints also are part of Mulvey's male gaze, but for the female gaze the focus is on women instead of men. Viewpoints expanded alongside diversity in film
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term referring to the gaze of the female spectator, character or director of an artistic work, but more than the gender it is an issue of representing women as subjects having agency. As such, people of any gender can create films with a female gaze. It is a response to feminist film theorist
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wardrobe is regarded as a central aspect of the film. According to Cohen, the different dresses that Dunne wears are extravagant, but not sexualized. While the clothing may be regarded as comical, it is also supportive to Dunne's independence and femininity. Cohen notes that in the film
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underrepresentation in the film industry overall. The female gaze as an applied practice in film is bound to the opportunity and gender disparities in the film industry for women. Recognizing this is connected to understanding the reason for its limited presence in film and media.
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is female and the subject is also female, the object of the film takes on a different role. Dirse argues that having a female cinematographer allows women to be viewed as they really are and not as the voyeuristic spectacle that the male gaze makes them out to be. While filming in
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has said, "Women have this vulnerability and connection to a depth of emotions that I can see and feel in certain moments of truth in the films we create. To me, the female gaze is transparency – the veil between audience and filmmaker is thin, and that allows people in more."
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It reduces the threat of violence and neutralizes the potential threats to the female viewers. Taylor argues that the use of a limited and specific female gaze can re-code incidents of gendered violence and violent male body as both reassuring and desirable.
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To address the rise of rejecting and returning the gaze in film and media Joey
Soloway conceptualized 'returning the gaze,' this refers to switching the roles between the audience and the subject of objectification within the film. The
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based on shared gender, it tends to ignore minorities, choosing instead to focus on the lives of white middle-class women. In the article she specifically focuses on television. In it she uses examples from the TV shows
82:", or a pleasure in gazing and placed women as spectacles to be objectified and viewed, unable to return a gaze. She ultimately rejects most depictions of women in film as inadequate representations of human beings.
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78:, looks at through his camera to the camera angles in his discussion with his girlfriend, the male gaze is accentuated by each move in Mulvey's article. Mulvey's article focused on the concept of "
36:", which represents not only the gaze of a heterosexual male viewer but also the gaze of the male character and the male creator of the film. In that sense it is close, though different, from the
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The 'gazed gaze' refers to a connection with the audience, aimed at conveying the ideal conceptions of being desired and as the object of one's affection. The 2005 film adaptation of
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Perfetti, Natalie (2015). "Chick flicks and the straight female gaze: Sexual objectification and sex negativity in new moon, forgetting sarah marshall, magic mike, and fool's gold".
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theories of psychoanalysis to discuss camera angle, narrative choice, and props in the movie while focusing on the concept of the male gaze. From what
Jeffries, the protagonist in
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more and more action movies and chick flick films create the heterosexual female gaze through showcasing male's bodies. In her article, Oates used examples from films such as
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is shared between the objectified and objectified through which the character realizes their role, rejecting it or returning to the viewer. Depicted in writer and director
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375:"in" rather than overlooking the character's experiences, allowing the audience to understand the character's inner thoughts, feelings, and emotions. The television show
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has been used to refer to the perspective a female filmmaker (screenwriter/director/producer) brings to a film that might be different from a male view of the subject.
243:, the author of the book upon which the film was based, was among the harshest critics, saying, "It appears to me this was what was missing on the set: lesbians."
300:. This kind of man is the idealized and embodiment of a man as conventionalized by what a woman would want in a man rather than what men believe women will want.
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Similar to the concept of the female gaze, 'written by a woman' can be understood as an emotionally vulnerable and aware man devoid of the conventions of
296:, this kind of man is in touch with his emotions, thoughtful, considerate, and kind, unafraid to distance themselves from the stereotypical concepts of
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genre, analyzing aspects of pleasure and viewer identification. She analyzes the gaze at the points of production and reception. She notes that if the
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Pollock, Griselda, "Art as
Transport-station of Trauma. Haunting Objects in the Works of Bracha Ettinger, Sarah Kofman and Chantal Ackerman. In:
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are examples of such films in which the traditional narrative is told through the female protagonist. This genre of film evolved into "
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introduce characters of color, they do so by casting them in supporting roles which never destabilize the white protagonist.
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Gutierrez-Albilla, Julian. Aesthetics, Ethics and Trauma in the Cinema of Pedro
Almodovar. Edinburch Univ. Press, 2017.
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490:, Natalie Perfetti-Oates argued that the heterosexual female gaze can become problematic with the rise of male sexual
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genre, with specific attention to the attire women wear. According to her, spectacle overrules plot in films such as
945:"'Below Her Mouth' Dir. April Mullen Talks About The Female Gaze & Working With An All-Female Crew - GirlTalkHQ"
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Benson-Allott, Caetlin (2017-12-01). "On
Platforms: No Such Thing Not Yet: Questioning Television's Female Gaze".
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891:"'Blue Is The Warmest Color' Author Julie Maroh Not Pleased With Graphic Sex In Film, Calls It "Porn" | IndieWire"
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Taylor, Jessica (2012-12-11). "Romance and the Female Gaze
Obscuring Gendered Violence in The Twilight Saga".
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Critics have focused attention on the presence of the female gaze in cinema and television, in works such as
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utilizes this trope through direct eye contact with the camera lens. In
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Cohen, Paula Marantz. "What Have Clothes Got to Do with It?: Romantic Comedy and the Female Gaze".
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exploring the racial dynamics of Los Angeles. Using anti-racist comedy, Benson-Allot argued,
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920:"Director April Mullen on how "Below Her Mouth" is all about the female gaze - AfterEllen"
819:"Feminists Debate Cannes-Winner 'Blue is the Warmest Color"s Patriarchal Gaze | IndieWire"
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720:"From 'The Handmaid's Tale' to 'I Love Dick,' the female gaze is thriving on television"
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has addressed additional components of the female gaze in film and media. In their 2016
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Mulvey discussed aspects of voyeurism and fetishism in the male gaze in her article, "
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Female Gaze: Women Directors + Women Cinematographers - The Criterion Channel
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Mulvey, Laura (Autumn 1975). "Visual Pleasure and Narrative Cinema".
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Romance and the Female Gaze: Obscuring Gendered Violence in the
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received considerable critical comment for the dominance of the
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is fully clothed throughout the entire film. The clothes, as in
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and lack of female gaze, with some reviewers calling it a "
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Joey Soloway on The Female Gaze | MASTER CLASS | TIFF 2016
768:"Blue Is The Warmest Color: The Male Gaze Reigns Supreme"
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story-teller rather than as a spectacle. Movies such as
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Paula Marantz Cohen discusses the female gaze in the
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794:""Blue Is the Warmest Color" gets lesbian sex wrong"
593:Female Gaze Teaser on Criterion's YouTube channel
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997:, Ed. N. Chare et al. Palgrave Macmillan, 2013.
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680:Dirse, Zoe. "Gender in Cinematography".
615:. University of Leeds Publishing, 1995.
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124:The Devil Wears Prada
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34:the male gaze
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1408:Bechdel test
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1372:Feminist art
1360:Scream queen
1340:Woman's film
1223:, retrieved
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1093:(2): 65–71.
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899:the original
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774:. 2013-11-06
772:Autostraddle
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408:Greta Gerwig
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368:Joey Soloway
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344:October 2023
341:
330:Please help
325:verification
322:
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283:Joey Soloway
277:At the 2016
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248:April Mullen
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30:Laura Mulvey
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1446:Film theory
1403:Female gaze
1386:Film theory
1335:Chick flick
729:5 September
656:(3): 6–18.
450:I Love Dick
433:I Love Dick
298:masculinity
237:patriarchal
225:drama film
203:I Love Dick
159:chick flick
80:scopophilia
76:Rear Window
67:Rear Window
64:1954 film,
46:female gaze
21:female gaze
1430:Categories
1355:Final girl
1302:Jouissance
1225:2023-10-26
1069:2023-10-26
1044:2017-09-01
980:2017-11-14
955:2017-09-01
949:GirlTalkHQ
930:2017-09-01
924:AfterEllen
905:2017-09-01
875:2017-09-01
828:2017-09-01
803:2017-09-01
778:2017-09-01
599:References
576:Otome game
538:fetishized
519:Magic Mike
514:Magic Mike
425:Criticisms
396:Joe Wright
246:Filmmaker
118:27 Dresses
115:" such as
1398:Male gaze
1297:Seriality
1202:Feminisms
1183:145206057
1175:1468-0777
1107:1533-8630
975:Talkhouse
870:0362-4331
474:Zoe Dirse
241:Jul Maroh
233:male gaze
131:Zoe Dirse
32:'s term "
1233:citation
1142:: 18–31.
837:cite web
560:See also
533:Twilight
508:New Moon
463:Insecure
458:Insecure
445:Insecure
97:diegetic
91:genres.
750:mtv.com
378:Fleabag
239:gaze".
223:lesbian
209:Fleabag
102:Rebecca
52:History
1374:theory
1350:Horror
1285:Tropes
1216:
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1173:
1105:
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650:Screen
632:
511:, and
413:Barbie
294:TikTok
212:, and
152:Romani
1179:S2CID
798:Salon
517:. In
144:Cairo
23:is a
1239:link
1214:ISBN
1171:ISSN
1103:ISSN
1039:TIFF
866:ISSN
843:link
731:2017
630:ISBN
454:GLOW
452:and
442:and
439:GLOW
404:gaze
270:and
121:and
105:and
19:The
1206:doi
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486:In
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