477:
3267:"pleasurable transgression" of looking depends on the spectator's physical proximity to the person who is the spectacle. In creating space between the subject (the spectator) and the object (the cinema screen), the male gaze perpetuates an "infinite pursuit of an absent object". Such psychological distance β despite physical proximity β is denied to the female spectator because of the "masochism of over-identification or the narcissism entailed in becoming one's own object of desire" β the opposite of what Mulvey said prevented the cinematic objectification of men. Using the transvestite metaphor, Doane said that the female spectator has two options: to identify with the passive representation to which female characters are subjected by the cinematic male gaze, or to identify the masochistic representation of the male gaze as defiance of the patriarchal social assumptions that define femininity as "a closeness".
3519:
3446:, the term 'women" does not refer to women of all races but specifically to white, Eurocentric women; black women are grouped with black men and are not considered in this movement. Black feminism uniquely studies the intersection of race, gender and class. Though it was started as a way to focus on the scope of the overlooked black women, it can also leave women of color who are not black unaccounted for. Neither term is perfect to account for the struggles of all ethnic groups of women; feminism cannot be looked at as black versus white as that does not encompass the vast range of ethnic identities. That said, black feminism is the first account of feminism focusing on the oppression of women who do not fit into the Western beauty standard.
3455:
301:
2803:
2993:
2693:
2817:
2977:. When black women are shown in art, they are sexualized and put in submissive positions, like their white counterparts, but unlike their white counterparts black women also experience racialized bigotry, which others them from their own identity groups. It also means black women are considered undesirable because they are not seen the same as other women who were depicted as the epitome of beauty in the art world. Though there is a small portion of media and art that depicts black women in romanticized versions of femininity, this imagery still leads back to
3322:, Bower's shows how "without a head, the woman in the drawing can threaten neither the man with her, nor the male spectator, with her own subjectivity. Her mutilated body is a symbol of how men have been able to deal with women by relegating them to visual objectivity". As such, just as in the Ancient Greek myth of the female gaze of Medusa, the male gaze requires the decapitation of the woman β symbolizing her capacity to wield the female gaze and objectify the male character β in order to subjugate the female gaze to the social norms of
3595:. In the course of chasing and evading each other, each man has opportunity to exercise his homoerotic gaze at the other man, both as object and as subject of desire, personal and professional. Thematically completing the plot and resolving the story requires that the policeman and the criminal seek the definitive masculine confrontation: the physical combat that will express and resolve their homosexual attraction, and the crime. Moreover, as commercial cinema, and despite the female-gaze cinematic perspective,
505:
3349:
3204:
upon it." In that light, "the sexualization and objectification of women is not simply for the purposes of eroticism; , from a psychoanalytic point of view, is designed to annihilate the threat that women pose". Despite their likeness, the male gaze and the female gaze possess unequal social power; in a patriarchy, the male gaze undermines the social equality of women into positions of gender inequality (subjectivity and submission).
2523:
63:
2636:) unilaterally determine what is "natural and normal" in society. In time, the people of a community believe that the artificial values of patriarchy, as a social system, are the "natural and normal" order of things in society because men look at women and women are looked at by men. The Western hierarchy of "inferior women" and "superior men" derives from misrepresenting men and women as sexual opponents, rather than as
223:
22:
2613:
the filmed story; and as an erotic object of desire for the male viewer (spectator) of the filmed story. Such visualizations establish the roles of the dominant male and dominated female, by representing the female as a passive object for the male gaze of the active viewer. The social pairing of the passive object (woman) and the active viewer (man) is a functional basis of patriarchy, i.e.,
165:
3378:. Parting from her interpretation of the essay "Visual Pleasure and Narrative Cinema" (1975), by Laura Mulvey, hooks said that "from a standpoint that acknowledges race, one sees clearly why black women spectators, not duped by mainstream cinema, would develop an oppositional gaze" to counter the male gaze. In relation to Lacan's
3039:
create the structure that separates different identities into separate groups. For that reason, black women will always have to deal with the gendered divisions that white women deal with, plus the racial oppression that black men face. Ethnic divisions are an important cross section that impact gender and class divisions.
2957:, during which many African women were removed from their homes, brought across the ocean, and forced into slavery. The power dynamic between enslaved women and their captors forced women to risk death or submit to a chance of surviving till the end of the long voyage. This was used to create a narrative of black women's
2864:. Regarding the social function of art-as-spectacle, that men act and that women are acted-upon, accords with the social practices of spectatorship, which are determined by the aesthetic conventions of the artistic objectification of men and women, which artists have not transcended in their production of works of art.
3140:, which seeks neither subordination nor domination of the gazer and the gazed-upon person, originates in the mother-child relationship, because Western culture is deeply committed to the ideas of "the masculine" and "the feminine" to demarcate differences between the sexes based upon the complex social apparatus of
2749:. Instead of representing a female character with personal agency, the actress is in the film for the purpose of visually supporting the actor portraying the male protagonist, by her "bearing the burden of sexual objectification" β a condition psychologically unbearable for the actor, the character, and the story.
2721:: the first look is that of the camera, which photographs and records the events of the filmed story; the second look describes the nearly voyeuristic act of the audience as they view the film proper; and the third look, which is that of the characters who interact with each other throughout the story.
3573:
genre, which thematically acknowledges the existence of homoerotic tension between the two men who collaborate to realise a job. By way of allusive jokes and humour, the homoerotic tension is sublimated into the objectification of the heterosexual (man-woman) relationship that each man lives when off
3313:
that sexually objectifies a man in the way that the male gaze objectifies a woman. The Medusa theory proposes that the psychological phenomenon of being looked-at begins when the woman who notices that a man is gazing at her deconstructs and rejects his objectification of her. The important aspect of
3287:
coincides with "the desire for visual immediacy" β the erasure of the visual medium to facilitate the spectator's uninhibited interaction with the woman portrayed β defined in feminist film theory as the "male desire that takes an overt sexual meaning when the object of representation, and, therefore
3203:
dehumanizes women into objects of desire is a psychological component of male and female sexuality in
Western culture; thus, "men do not simply look; their gaze carries with it the power of action and of possession, which is lacking in the female gaze. Women receive and return a gaze, but cannot act
2776:
From the perspectives of male spectatorship, Mulvey said that in order for women to enjoy cinema, they must choose to identify with the male protagonist and assume his male-gaze perspective in looking at the world and at women. In the essay "If Her
Stunning Beauty Doesn't Bring You to Your Knees, Her
2612:
of the camera as the perspective of the spectator β a heterosexual man whose sight lingers upon the features of a woman's body. In narrative cinema, the male gaze usually displays the female character (woman, girl, child) on two levels of eroticism: as an erotic object of desire for the characters in
2592:
of the male, wherein women are passive recipients of male objectification. The on-screen presence of a woman's body is notable, because "her lack of penis, a threat of castration and hence unpleasure", which the male gaze subverts through the over-sexualization of femininity. As the passive subjects
3637:
The idea that a man looking at or a director filming a beautiful woman makes her an object, makes her passive beneath the male gaze which seeks control over woman by turning her into mere matter, into "meat" β I think this was utter nonsense from the start. was formulated by people who knew nothing
3568:
featuring two men in close-quarters combat; their violence is their implicit engagement with the homoeroticism inherent to physical contact, and use their male-gaze-objectification of the women characters as the "safety valve" that displaces the unspoken, emotional conflict of homoerotic attraction.
3118:. The matrixial gaze concerns trans-subjectivity and shareability based upon the feminine-matrixial-difference, which is produced by co-emergence by avoiding the phallic opposition of masculineβfeminine. Parting from Lacan's later work, Ettinger's analyses the psychological structure of the Lacanian
3229:
gazing, whilst her distracted husband is gazing at a painting of a nude woman, which also is in view of the spectator. The woman is looking at an artwork not in view of the spectator. The man has found someone more interesting to gaze at, thus ignoring his wife's comment. Pollock's analysis of the
3228:
couple viewing artworks in the display window of an art gallery. In the photograph, the spectator's perspective is from inside the art gallery. The couple are looking in directions different from the sight-line of the spectator. The woman is speaking to her husband about a painting at which she is
3686:
The male gaze, partly arising out of natural biological pleasure-seeking male urges, and partly arising out of the inflated significance given in secular cultures to narrow aspects of reality (to compensate for the lack of religious/spiritual cosmic significance), results in an excessive cultural
3678:
Rhea Ashley Hoskin, a lesbian researcher, criticizes the tendency in social science to criticize feminine lesbian characters as created for the male gaze, and to present masculine lesbians as authentic. In her opinion, this trend reinforces the false idea that real lesbians are masculine, when in
3422:
has been used in the argument black people are less than human. This establishes black women as biologically sub-human or as an object to means of sexual reproduction and sexual desire. It is important to note that gender divisions are not backed by sexual reproduction as they were constructed as
3266:
said that
Freudian psychoanalysis discounted the importance of the female spectator because she is "too close to herself, entangled in her own enigma, she could not step back, could not achieve the necessary distance of a second look". That the voyeuristic gaze and the fetishistic gaze each are a
2964:
Farrington said that instead of perpetuating the gaze, women artists have the ability to reclaim dominance over their bodies by painting the female nude themselves. This counteracts the male artists who have traditionally painted women in the nude to assert their own sexual dominance over a woman
2604:
of the female body. The practice of voyeurism-sadism is the "pleasure lies in ascertaining guilt (immediately associated with castration), asserting control and subjecting the guilty person through punishment or forgiveness", which aligns more with the structure of narrative cinema than does the
3038:
and gender divisions. To them, this concept is critical to unveiling the structure of oppression that the male gaze is built upon. Class divisions develop over time as ideologies are formed and reworked to reflect the current class system of an area. The influences of gender and racial divisions
3253:
said that the difference between the female gaze and the male gaze is the displacement of scopophilia, which allows different perspectives because "the female gaze cohabits the space occupied by men, rather than being entirely divorced from it"; because the female gaze is not voyeuristic and so
3389:
The black woman spectator identifies "with neither the phallocentric gaze nor the construction of white womanhood as lack ", thus, "critical black female spectators construct a theory of looking relations where cinematic visual delight is the pleasure of interrogation", which originates from a
3333:
said that the female gaze is inherent to photographs taken by a woman, which is a perspective that negates the stereotypical male-gaze look inherent to "male-constructed" photographs, which, in the history of art, usually have presented and represented women as objects, rather than as persons.
3166:
Conceptually, the female gaze is like the male gaze, the action by which women view men and women, and themselves, from the perspective of a heterosexual man. The unequal social power of the male gaze is a conscious and subconscious effort to develop, establish, and maintain a sexual order of
3070:
and poor mental health. For most women, a physical interaction with a man does not cause internalized feelings of self-objectification and subsequent negative mental state, but the anticipation of being dehumanized into a sexual object, by the male gaze, does cause internalized feelings of
2772:
and naked bodies, etc.; sexual spectatorship is in two categories: voyeurism, wherein the viewer's pleasure is in looking at another person from a distance, and he or she projects fantasies, usually sexual, onto the gazed-upon person; and narcissism, wherein the viewer's pleasure is in
3054:
expectations, to speak politely and not coarsely, and to groom and dress themselves in consideration of the opinions of other people. Failure to meet such standards of phallocentric masculinity is considered the personal fault of the individual girl or woman for not meeting
2871:, the nude woman who is the subject of the painting is often depicted being aware that she is being observed, either by other people within the scene portrayed in the painting or by the spectator gazing at the painting. Berger analyzes the male-gaze perspectives of two
2740:
presents and represents the women characters as objects of sexual desire possessed of a physical "appearance coded for strong visual and erotic impact" upon the male spectator. Therefore, in the narrative of the story (screenplay) the actress does not portray a female
3314:
the male gaze is its subdued, unquestioned existence, which is disrupted by the female gaze when women acknowledge themselves as the object of the gaze, and reject such sexual subordination by objectifying the gazing man with their female gaze. Using the illustration
355:
viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: that of the man behind the camera, that of the male characters within the film's cinematic representations; and that of the spectator gazing at the image.
2946:
In Lisa E. Farrington's "Reinventing
Herself: The Black Female Nude", Farrington states that the European female nude has mostly been depicted as passive and complacent to a masculine gaze, or in special occasions has been depicted as sexually liberated and as a
3296:
in its suggestion of multiplicity β a multiplicity of viewing positions, and a multiplicity of relationships, to the object in view, including sexual objects"; as a form of the female gaze, hypermediacy offers more and greater perspectives than the male gaze.
3423:
tools of patriarchal control and used to support that ideology. It is harder to approach racial and ethnic division in such a straightforward manner because of the lack of complete separation between groups; there is too much crossover due to influence of
3133:. That "the domination of women by the male gaze is part of men's strategy to contain the threat that the mother embodies, and to control the positive and negative impulses that memory traces of being mothered have left in the male unconsciousness."
2968:
Western art has lacked representation in all areas and it historically fails to portray black female bodies in the same context that
European women have been depicted. While this is a race issue, it is also a gender issue and highlights the specific
3398:
that lie outside the exclusivity of perpetuated lines of sex-and-sexuality, hooks curated an organic pleasure in looking, which is not related to the scopophilia originally presented and explained in "Visual
Pleasure and Narrative Cinema".
2789:
posed by violent women, hence: "The focus on the body β as a body in an ostentatious display of breasts, legs, and buttocks β does mitigate the threat that women pose to 'the very fabric of . . . society', by reassuring the viewer of his
2605:
fetishization component of scopophilia. Psychologically, fetishistic scopophilia reduces the man's castration anxiety β induced by the presence of women β by fragmenting the woman's personality and hypersexualizing the parts of her body.
3550:
is innate to friendships and relationships among men. In the essay "Masculinity, the Male
Spectator and the Homoerotic Gaze" (1998), Patrick Shuckmann said that homoerotic-gaze theory reframes sexual objectification into the practice of
3559:
Using three story-plots in which the male gaze voids the homoerotic gaze in the relationships among the male characters in the story, Schuckmann shows that the visual and thematic purpose of women characters in a movie is to validate
3187:
that only benefit men, thereby, the woman's welcoming sexist attention reinforces the social power of the male gaze to dehumanize women. However, the woman who accepts the sexual politics of the male gaze might be perceived as an
3066:(2004), the researcher Rachel M. Calogero said that the male gaze can negatively affect the self-esteem of a woman and induce feelings of self-objectification that consequently lead to increased occurrences of feelings of
3410:
black woman said that "to see Black women in the position white women have occupied in film forever" is to witness a transference without transformation; therefore, in the real world, the oppositional gaze includes
3406:" is a sociological denial that refutes criticism that feminist film critics concern themselves only with the cinematic presentation and representation of white women. In the course of being interviewed by hooks, a
2934:, especially in the nude-woman genre, psychological splitting arises in the objectified woman from the condition of being both the spectator and the spectacle; social alienation arises from seeing herself through
3855:
Assumes a standard point of view that is masculine and heterosexual. . . . The phrase 'male gaze' refers to the frequent framing of objects of visual art so that the viewer is situated in a masculine position of
3648:
theory: First there was feminist ideology, asserting that history is nothing but male oppression and female victimization, and then came this theory β the "victim" model of feminism applied wholesale to works of
3555:
men and women to deflect attention from the homoeroticism inherent to male relationships; thus, the gaze of the cinema camera renders women characters into both objects of desire and objects of displaced desire.
3033:
In "Contextualizing
Feminism: Gender, Ethnic and Class Divisions" (1983 Feminist Review), Floya Anthias and Nira Yuval-Davissay detail the way that the male gaze, in terms of the black female body, is based on
3152:
of the sexes privileges the male gaze (voyeurism and fetishism) because men's desires include the power of action, whereas the desires of women usually do not include the power of acting upon their desires.
3014:(1989), researcher Edward Snow states that the concept of the male gaze has evolved into a theory of patriarchy, and that being subjected to the male gaze has negative psychological consequences upon the
3364:
said that black women are placed outside the "pleasure in looking" (scopophilia) by being excluded as subjects of the male gaze. Beyond the exclusivity of the social signifiers of sex and sexuality as
2911:(1610), represents the bathing Susanna as greatly humiliated at being subjected to the male gaze of two old men β the elders of the community β whose voyeurism has sexually objectified Susanna in the
2617:
that are culturally reinforced in and by the aesthetics (textual, visual, symbolic) of the mainstream, commercial cinema; the movies of which feature the male gaze as more important than the
450:; the idea is that the act of gazing at another human being creates a subjective power difference, which is felt both by the "gazer" and by the "gazed", because the person being gazed at is
3635:
that is associated with Laura Mulvey (and that she, herself, has moved somewhat away from) and that has taken over feminist film studies to a vampiric degree in the last twenty-five years.
3434:
The racial discrepancy continues into the
Western feminist movement that has historically ignored and excluded black women, to the point where the separation of the terms 'feminism' and '
700:
3494:
of patriarchy; women are free to be themselves, personally and sexually. The theory of the lesbian gaze proposes that cinematic lesbians are "simultaneously both subject and object of
612:
3502:
of female characters is never made explicit, and viewers are left to read the text largely as they wish." Queering the male gaze eliminates the distinction between erotic love and
3309:
theory about the feminization of the male gaze, that women who assume the female gaze are societally perceived as psychologically dangerous women, because men both desire and fear
3030:, the woman's anticipation of being subjected to the male gaze increases her internal self-objectification, which induces feelings of body-shame and anxiety about her appearance.
311:
shows a reclining nude woman being watched by a disproportionately large male face at the window of her bedroom; the painting "powerfully exemplifie" the concept of the male gaze.
375:(1972), which presents analyses of the representation of women β as passive objects to be seen β in advertising and as nude subjects in European art. The feminist intellectual
2997:
2906:
3292:(directing the attention of the spectator to the visual medium and to the mediation inherent to a work of art) to be a form of the female gaze, because it "is multiple and
3603:
woman to look at, a character whose visual function in the story is to continually affirm the heterosexuality of the male characters to the male spectators of the movie.
457:
In Laura Mulvey's 1975 essay "Visual
Pleasure and Narrative Cinema", she presents, explains, and develops the cinematic concept of the male gaze. Mulvey proposes that
4177:
695:
175:
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self-recognition when viewing the image of another person. The bases of voyeurism and narcissism are in the concepts of the object libido and of the ego libido.
627:
5062:
3908:
Devereaux, Mary (1995). "Oppressive Texts, Resisting Readers, and the Gendered Spectator: The "New" Aesthetics". In Brand, Peggy Z.; Korsmeyer, Carolyn (eds.).
3241:
the object of desire, because she is represented as a woman who actively looks, rather than returning and confirming the gaze of the masculine spectator."
617:
4894:
2897:
Susanna-as-spectacle. The male-gaze perspectives of Tintoretto's paintings represent Susanna as nonchalant at being gazed upon in her nudity, whereas the
2709:
Two types of spectatorship occur while viewing a film, wherein the spectator consciously and unconsciously engages in the societally defined-and-assigned
4289:
By their presence -- most forcibly by looking into your eyes -- other people compel you to realize that you are an object for them, Sartre (1948) argues.
2669:), and each type of male gaze shows how women have been socially compelled to view the cinema from the perspectives (sexual, aesthetic, cultural) of the
394:
due to an attraction to their physical characteristics, but at the same time punished them and excluded their bodies from what is considered desirable.
734:
3386:, the oppositional gaze functions as a form of looking back, in search of the black female body within the cinematic idealization of white womanhood.
2953:
that uses her sexuality to overpower men. In contrast, black women have been portrayed as "deserving" sexual violence since at least the time of the
2812:(1550β1560) Tintoretto shows Susanna directly looking at the spectator gazing at the painting of which she is the subject; aware of being looked at.
2752:
The condition of woman-as-passive-object of the male gaze is the link to scopophilia, the aesthetic pleasure derived from looking at someone as an
2052:
2826:(1555β1556) Tintoretto shows Susannah gazing at herself in a mirror, and thus joins the two old men in their spectatorship of her person and her
469:
of women and men. The male gaze (the aesthetic pleasure of the male viewer) is a social construct derived from the ideologies and discourses of
186:
1883:
3546:
of homosexual attraction is sublimated onto the women characters of the story, to distract the spectator of the film story from noticing that
3474:
between men and women. In "Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film" (1988), academic Karen Hollinger
2984:
Black male artists are also responsible for depicting sexualized black women in art and such practice has been seen abundant in recent media.
1431:
3415:
resistance and understanding and awareness of the politics of race and of racism by way of cinematic whiteness, inclusive of the male gaze.
4707:
Calogero, Rachel M. (2004-03-01). "A Test of Objectification Theory: The Effect of the Male Gaze on Appearance Concerns in College Women".
3394:
and with it a phallocentric spectatorship where the woman to be looked-at and desired is white". Accounting for the social signifiers of
3356:
developed male-gaze theory to account for the exclusion and invisibility of black women from the male gaze and idealized white womanhood.
2551:
4508:
3970:
2961:: the idea and stereotype that black women are inherently sexual creatures with uncontrollable desires reflective of animal behavior.
3390:
negative emotional response to the cinematic representation of women that "denies the 'body' of the black female so as to perpetuate
717:
712:
4908:
Gamman, Lorraine (1989), "Watching the Detectives: The Enigma of the Female Gaze", in Gamman, Lorraine; Marshment, Margaret (eds.),
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5403:
1376:
729:
3518:
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and objects of the male gaze, the hypersexualization of women thwarts the man's castration anxiety with the sexual practises of
1861:
544:
4579:
Sturken, Marita; Cartwright, Lisa (2001), "Spectatorship, Power, and Knowledge", in Sturken, Marita; Cartwright, Lisa (eds.),
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shows Susanna greatly distressed and humiliated at being sexually objectified by the male gaze of two elders of the community.
4961:
4475:
3822:
3237:, to the naked woman. She is denied the picturing of her desire; what she looks at is blank for the spectator. She is denied
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1548:
539:
5261:
Hoskin, Rhea Ashley (2019). "Can femme be theory? Exploring the epistemological and methodological possibilities of femme".
4460:"If Her Stunning Beauty Doesn't Bring You to Your Knees, Her Deadly Drop-kick Will: Violent Women in Hong Kong Kung fu Film"
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In the essay "Visual Pleasure and Narrative Cinema" (1975), Mulvey introduced and described the mechanics of the male gaze.
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subject. A woman painting a female nude completely flips the gaze because a female audience replaces the male audience.
127:
5324:
4317:
3498:, and consequently of female desire", which is communicated in the narrative ambiguity of lesbian cinema, wherein "the
3144:; and second, that said sexual demarcations are based upon patterns of dominance and submission. Such a demarcation of
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99:
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Bolter, Jay David; Grusin, Richard (1999), "Networks of Remediation", in Bolter, Jay David; Grusin, Richard (eds.),
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248:
4246:
1824:
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652:
4201:
Sassatelli, Roberta (September 2011). "Interview with Laura Mulvey: Gender, Gaze and Technology in Film Culture".
3690:
Thus for the female, the objection to the male gaze serves not only to reject undesirable men and thus facilitate
5130:
Mulvey, Laura (2006) . "Visual Pleasure and Narrative Cinema". In Meenakshi Gigi Durham; Douglas Kellner (eds.).
3402:
In the context of feminist theory, the absence of discussion of racial relations within the totalizing category
662:
607:
106:
3631:
became a whipping-boy for feminist theory. I've been very vocal about my opposition to the simplistic theory of
3587:(1991), the female gaze of the woman director presents and analyses homoerotic attraction between the policeman
3125:
In the essay, "Is the Gaze Male?" (1983), E. Kaplan said that the male gaze constructs a false, hypersexualized
2802:
383:
to critique traditional representations of women in cinema, from which work emerged the concept and the term of
5578:
4379:
Pritchard, Annette; Morgan, Nigel J. (October 2000). "Privileging the Male Gaze: Gendered Tourism Landscapes".
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generally is perceived as the woman's passive role in the story. Based upon that patriarchal construction, the
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1991:
1957:
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1334:
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233:
84:
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5568:
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Hollinger, Karen (1998). "Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film".
3658:
2449:
2439:
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1871:
1689:
776:
677:
657:
300:
4944:
Doane, Mary Ann (1999). "Film and the Masquerade: Theorising the Female Spectator". In Thornham, Sue (ed.).
2992:
2893:(1555β1556), Susanna is looking at herself in a mirror, and thus joins the two old men and the spectator in
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4203:
2931:
2429:
2404:
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1448:
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667:
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113:
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Anthias, Floya; Yuval-Davis, Nira (2007). "Contextualizing Feminism: Gender, Ethnic and Class Divisions".
3046:
implicitly teach girls and women how they are expected to behave when scrutinized by the male gaze. These
928:
405:
are the foundations from which Mulvey developed the theory of the male gaze and interpreted and explained
5547:
4162:(2nd ed.). Houndmills, Basingstoke, Hampshire England New York: Palgrave Macmillan. pp. 14β30.
3698:, but also to counter the feelings of personal insignificance arising out of narrow conceptions of self.
3675:
Elyce Rae Helford, a gender researcher, notes that Mulvey's theory has been criticised for essentialism.
3506:
in relationships among women, because the narrative ambiguity of lesbian cinema thwarts the heterosexual
3043:
2434:
2424:
2394:
2276:
2261:
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1839:
1704:
1699:
1391:
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409:, the "primordial wish for pleasurable looking" that is satisfied by the cinematic experience. The terms
5296:
Pyszczynski, Tom; Solomon, Sheldon; Greenberg, Jeff (2015). "Thirty Years of Terror Management Theory".
3192:
advantageously using sexual objectification to profitably manipulate the sexist norms of patriarchy for
2816:
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is a psychological "safety valve for homoerotic tensions" among heterosexual men; in genre cinema, the
2377:
1964:
1252:
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identify both the aesthetic joy and the sexual pleasures derived from looking at someone or something.
80:
35:
3867:
That the male gaze applies to literature and to the visual arts: ΕuczyΕska-HoΕdys, MaΕgorzata (2013).
754:
95:
3749:
3064:
A Test of Objectification Theory: The Effect of the Male Gaze on Appearance Concerns in College Women
2918:
In the production of a work of art, the conventions of artistic representation connect the male-gaze
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to transform her from person to object β someone to be considered only for her beauty, physique, and
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1969:
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by two old men who discover each other spying on Susanna whilst she bathes. In the first painting,
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woman, which is a mutual gaze between two women β neither of whom is the subject or the object of
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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1947:
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4757:. Leeds, UK: Feminist Arts and Histories Network, Department of Fine Art, University of Leeds.
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2011:
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998:
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810:
348:
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The beauty standards perpetuated by the male gaze have historically sexualized and fetishized
5103:
Hooks, Bell (2003). "The Oppositional Gaze: Black Female Spectators". In Amelia Jones (ed.).
4989:
4983:
4814:
Kaplan, E. (1983). "Is the Gaze Male?", in Snitow A., Stansell C., & Thompson S. (Eds.),
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Inside the Visible: An Elliptical Traverse of 20th century Art in, of, and from the Feminine
3122:, whose deconstruction produces the feminine perspective by way of a shared matrixial gaze.
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masculinity. In comparison to the feelings of a man who anticipates being subjected to the
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864:
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The use of sexual difference to justify discrimination towards women is comparable to how
3042:
Given the prevalence of the male gaze in a patriarchal society, the social conventions of
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of women, especially from the emotional and mental stresses of continually being expected
8:
3838:
2926:: the psychological splitting that occurs from seeing oneself as one is and seeing one's
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529:
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Hobson, Janell (2002). "Viewing in the Dark: Toward a Black Feminist Approach to Film".
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Schuckmann, Patrick (1998). "Masculinity, the Male Spectator and the Homoerotic Gaze".
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2006:
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addresses the visual negation of the female gaze. Using the example of the photograph
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Deadly Drop-kick Will: Violent Women in Hong Kong Kung fu Film" (0000), the dramaturg
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4720:
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4590:
4544:
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4432:
4336:
4224:
4163:
3999:
3949:
3940:(1995). "Visual Pressures: On Gender and Looking". In Walters, Suzanna Danuta (ed.).
3917:
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Soft-Shed Kisses: Re-visioning the Femme Fatale in English Poetry of the 19th Century
3818:
3680:
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in order to dismiss the sensual feminine within every person innately connected to a
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2016:
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488:
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3212:
In the essay "Modernity and the Spaces for Femininity" (1988), the cultural analyst
2580:(pleasure from contemplating one's self). Parting from the Freudian concept of male
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In the essay "The Oppositional Gaze: Black Female Spectators" (1997), the academic
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524:
437:
240:
182:
5345:
5274:
4358:"This is Not Sex: A Web Essay on the Male Gaze, Fashion Advertising, and the Pose"
4356:
Streeter, Thomas; Hintlian, Nicole; Chipetz, Samantha; Callender, Susanna (2005).
2624:
As an ideological basis of patriarchy, sociopolitical inequality is realized as a
5472:
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3382:, during which a child develops the capacity for self-recognition, and thus the
3262:
In the essay "Film and the Masquerade: Theorising the Female Spectator" (1999),
2887:(1550β1560), Susanna "looks back at us looking at her"; in the second painting,
308:
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41:
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noting Menkes plucking out scenes from certain films without proper context.
3578:
3547:
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3407:
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In the essay, "Medusa and the Female Gaze" (1990), Susan Bowers explores the
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3015:
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4869:
4865:
4263:
Stack, George J.; Plant, Robert W. (1982). "The Phenomenon of 'The Look'".
4155:
4151:
4122:
3717:
3656:'s 2022 documentary about the cinematic male gaze based on Mulvey's works,
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3348:
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To address the psychological limitations of the male gaze, the philosopher
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1220:
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893:
766:
376:
4050:
Farrington, Lisa E. (1983). "Reinventing Herself: The Black Female Nude".
2732:
generally is perceived as the man's active role in the story, while being
2673:. In cinematic representations of women, the male gaze denies the woman's
5535:
5467:
4536:
4532:
3712:
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of the bodies of female characters symbolically diminishes the threat of
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1232:
1023:
425:
406:
391:
366:
332:
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5195:
4781:(1996), "The With-in-visible Screen", in de Zegher, M. Catherine (ed.),
4239:
3329:
In the article "From Her Perspective" (2017), photographer and academic
3175:, women are socially unequal. On the one hand, a woman who welcomes the
5487:
5434:
5039:
4690:
4642:
4444:
4284:
4071:
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3490:. In lesbian cinema, the absence of male-gaze social control voids the
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3353:
3180:
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2662:
2577:
2576:(looking as sexual pleasure), scopophilia (pleasure from looking), and
1789:
1774:
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470:
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between men and women β is a controlling social force in the cinematic
336:
4613:
Snow, Edward (1989-01-01). "Theorizing the Male Gaze: Some Problems".
3912:. University Park, Pennsylvania: Penn State University Press. p.
2717:, the spectator views a film from the perspectives of three different
3507:
3442:) which were never addressed or supported by the white feminists. In
3383:
3047:
2852:
of women in the arts and in advertising β by distinguishing that men
2757:
2745:
whose actions directly affect the outcome of the story or propel the
2697:
2666:
2658:
2573:
1764:
842:
4682:
4626:
4428:
4276:
4063:
3249:
In "Watching the Detectives: The Enigma of the Female Gaze" (1989),
251:. Statements consisting only of original research should be removed.
62:
4318:
Brainwashed: Sex-Camera-Power - Movie Review - The Austin Chronicle
3644:
3624:
3471:
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1543:
1411:
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In narrative film, the visual perspective of the male gaze is the
5381:
4840:
Vision and Difference: Femininity, Feminism, and Histories of Art
3662:, was criticized by Marya E. Gates of RogerEbert.com as having a
3526:(1921β1922) depicts Lawrence as the young man on the beach being
3483:
3466:
Most applications of male gaze theory have been about the social
3438:' had to be made to address the issues of black women (and other
3326:, which demarcates sexual roles as either masculine or feminine.
2633:
1205:
328:
4355:
3998:, edited by Sharon L. James, Sheila Dillon, p. 75, 2012, Wiley,
3944:. Berkeley, California: University of California Press. p.
2661:
in the extreme), and the scopophilic pleasure that is linked to
2584:, Mulvey said that because the woman does not have a penis, her
5325:"Male gays in the female gaze: women who watch m/m pornography"
4818:(pp. 309β327). New York: NYU Press. doi:10.2307/j.ctv12pnr6v.28
3375:
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2614:
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4311:
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Brainwashed: Sex-Camera-Power movie review (2022)|Roger Ebert
3475:
2628:
by which male-created institutions (e.g. the movie business,
324:
4374:
4372:
4245:(Report). Stockholm, Sweden: Royal Institute of Technology.
3881:
Eaton, E.W. (September 2008). "Feminist Philosophy of Art".
2572:, the male gaze is conceptually related to the behaviors of
5295:
3564:: heterosexuality as the social norm. The first plot is an
2927:
2879:, a biblical story about a pretty woman falsely accused of
2827:
441:
361:
176:
personal reflection, personal essay, or argumentative essay
4308:
2653:
The Freudian concept of scopophilia produced two types of
4369:
3462:: Two girls greet each other with a kiss; a boy looks on.
3288:
desire, is a woman." Bolter and Grusin proposed the term
2973:
of oppression that black women navigate, which is called
420:
Concerning the psychologic applications and functions of
352:
4785:, Cambridge, Massachusetts: MIT Press, pp. 89β116,
4196:
4194:
4192:
4190:
3942:
Material Girls: Making Sense of Feminist Cultural Theory
3374:
hooks said that the power in looking also is defined by
5018:
Bowers, Susan R. (1990). "Medusa and the Female Gaze".
4582:
Practices of Looking: An Introduction to Visual Culture
4125:(Autumn 1975). "Visual Pleasure and Narrative Cinema".
4864:(1992), "Modernity and the Spaces for Femininity", in
4834:(1988), "Modernity and the Spaces for Femininity", in
4017:"6 Female Artists on What the Male Gaze Means to Them"
2728:(camera, spectator, characters) is that the action of
4187:
3171:
in a patriarchal society. From either perspective of
2696:
The male gaze of a male puppet (detail of an English
4911:
The Female Gaze: Women as Viewers of Popular Culture
4826:
4824:
4585:, Oxford New York: Oxford University Press, p.
4237:
3817:. McGraw-Hill Companies, Incorporated. pp. IV.
2724:
The visual perspective common to the three types of
2657:: the pleasure that is linked to sexual attraction (
424:, the male gaze is conceptually contrasted with the
4299:
4297:
4154:(2009). "Visual pleasure and narrative cinema". In
3615:rejected the concept of the male gaze as being the
3254:disrupts the phallocentric power of the male gaze.
87:. Unsourced material may be challenged and removed.
5169:
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5161:
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5155:
5153:
4672:
4045:
4043:
4041:
4039:
4037:
3627:began to solidify its ideology in the early '70s,
2760:, scopophilia refers to the pleasure (sensual and
4875:The Expanding Discourse: Feminism and Art History
4821:
4578:
4543:, London: BBC Penguin Books, pp. 45 and 47,
4410:
4408:
4406:
4404:
4402:
3611:In "The Savage Id" (1999), the feminist academic
5560:
4988:, Cambridge, Massachusetts: MIT Press, pp.
4702:
4700:
4563:
4509:"How John Berger Changed Our Ways of Seeing Art"
4294:
3971:"How John Berger Changed Our Ways of Seeing Art"
3679:reality lesbians are diverse in their preferred
3638:about the history of painting or sculpture, the
454:β perceived as an object, not as a human being.
5150:
4668:
4666:
4664:
4662:
4660:
4658:
4656:
4654:
4652:
4378:
4034:
3022:by and for men to the unrealistic standards of
2794:, as the possessor of the objectifying gaze."
5013:
5011:
5009:
4977:
4975:
4973:
4842:, London New York: Routledge, pp. 50β90,
4810:
4808:
4806:
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4802:
4489:
4487:
4399:
4117:
4115:
4113:
4111:
4109:
4107:
4105:
4103:
4101:
3814:Encounters: Essays for Exploration and Inquiry
3577:The third plot is the thematic exploration of
5397:
5098:
5096:
5094:
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4081:
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5136:. Malden, MA: Blackwell. pp. 342β352.
5006:
4970:
4816:Powers of Desire: The Politics of Sexuality
4799:
4484:
3811:Hoy, Pat C.; DiYanni, Robert (1999-11-23).
2987:
2797:
50:Learn how and when to remove these messages
5404:
5390:
5298:Advances in Experimental Social Psychology
5173:
5077:
4932:
4564:Christiansen, Keith; Mann, Judith (2001).
4262:
4200:
4078:
4049:
3810:
3524:T.E. Lawrence as a Cadet at Newporth Beach
2552:
2538:
1432:African-American women's suffrage movement
4500:
4470:. University of Texas Press. p. 41.
4451:
4414:
4366:Essay about the male gaze in advertising.
4231:
3995:A Companion to Women in the Ancient World
3907:
3233:photograph is that: "She is contrasted,
365:was first used by the English art critic
285:Learn how and when to remove this message
267:Learn how and when to remove this message
205:Learn how and when to remove this message
147:Learn how and when to remove this message
5109:. New York: Routledge. pp. 94β105.
4777:
4749:
4706:
4265:Philosophy and Phenomenological Research
3517:
3478:male-gaze theory to develop and explain
3453:
3347:
3012:Theorizing the Male Gaze: Some Problems
2991:
2941:
2820:The male gaze: in the second version of
2815:
2801:
2691:
1377:Discrimination against transgender women
475:
299:
5322:
5229:
5106:The Feminism and Visual Cultural Reader
4860:
4830:
3936:
3871:, Cambridge Scholars Publishing, p. 15.
3179:of the male gaze might be perceived as
3078:
2981:that apply to all depictions of women.
2806:The male gaze: In the first version of
5561:
5352:
5260:
5129:
5017:
4907:
4531:
4328:
4150:
4121:
3581:within a character. In the genre film
3513:
2756:. Moreover, as an expression of human
5385:
5207:
5205:
5102:
4943:
4914:, Seattle: Real Comet Press, p.
4608:
4606:
4468:Reel Knockouts: Violent Women in Film
4457:
4256:
3880:
3275:In "Networks of Remediation" (1999),
351:for the pleasure of the heterosexual
5133:Media and Cultural Studies: Keywords
5052:
4878:, New York: Icon Editions, pp.
4612:
4506:
3968:
3910:Feminism and tradition in aesthetics
3538:Male-gaze theory also proposes that
3510:of the sexual identity of lesbians.
3449:
3352:The oppositional gaze: The academic
3337:
2665:identification (the introjection of
216:
158:
85:adding citations to reliable sources
56:
15:
4985:Remediation Understanding New Media
3843:Stanford Encyclopedia of Philosophy
2930:as an idealized representation. In
13:
5411:
5316:
5202:
4603:
4329:Ritzer, George (August 11, 2004).
3781:Alongside African men and children
3224:, Pollock describes a middle-aged
3156:
2834:In the television series and book
2588:provokes sexual insecurity in the
14:
5600:
5176:Amerikastudien / American Studies
3106:constitute each other from their
3083:
2996:The female gaze: in the painting
2860:as the subject of an image, as a
31:This article has multiple issues.
5065:from the original on 2 June 2018
4721:10.1111/j.1471-6402.2004.00118.x
4566:Orazio and Artemesia Gentileschi
4364:from the original on 2011-11-06.
4252:from the original on 2011-10-04.
3895:10.1111/j.1747-9991.2008.00154.x
3790:To stand straight and not slouch
3522:The Queer gaze: In the painting
3472:sexually exclusive relationships
2704:
2521:
2053:Democratic Republic of the Congo
1387:Diversity, equity, and inclusion
503:
221:
163:
61:
20:
5289:
5254:
5223:
5123:
5046:
4901:
4771:
4743:
4572:
4557:
4525:
4349:
4322:
3889:(5). Wiley-Blackwell: 873β893.
3784:
3775:
3762:
2901:perspective of the painting by
436:The existentialist philosopher
397:The psychoanalytic theories of
72:needs additional citations for
39:or discuss these issues on the
4009:
3987:
3962:
3930:
3901:
3874:
3861:
3831:
3804:
2922:of women to Lacan's theory of
2648:
2485:Women's suffrage organizations
343:perspective that presents and
1:
5346:10.1080/23268743.2015.1052937
5275:10.1080/10894160.2019.1702288
4709:Psychology of Women Quarterly
4568:. Metropolitan Museum of Art.
4393:10.1016/S0160-7383(99)00113-9
4332:Encyclopedia of Social Theory
4238:Jacobsson, Eva-Maria (1999).
4204:Theory, Culture & Society
3797:
3659:Brainwashed: Sex-Camera-Power
3301:Feminization of the male gaze
3283:said that Mulvey's theory of
431:
5230:Helford, Elyce Rae (2006). "
3606:
3569:The second plot is from the
3470:of heterosexual patriarchy:
3370:, through the theory of the
3258:Pursuit of the absent object
2932:Italian Renaissance painting
2470:Suffragists and suffragettes
2400:American feminist literature
7:
5323:Neville, Lucy (July 2015).
5306:10.1016/bs.aesp.2015.03.001
3701:
3044:conservative traditionalism
2848:to discuss and explain the
2643:
1710:Views on transgender topics
1700:Views on sexual orientation
305:Nude Girl on a Panther Skin
247:the claims made and adding
10:
5605:
5263:Journal of Lesbian Studies
4507:Bell, Vicki (2017-01-14).
4381:Annals of Tourism Research
4160:Visual and other pleasures
3969:Bell, Vicki (2017-01-14).
3743:
3687:focus on the female body.
3530:by the man in the water. (
3341:
3316:Sex Murder on Ackerstrasse
2764:) derived from looking at
463:social and political power
440:introduced the concept of
297:Concept in feminist theory
5503:
5453:
5417:
5355:Women's Studies Quarterly
5248:10.1080/14680770600645119
5053:Khan, Atif (2017-01-04).
4954:10.1515/9781474473224-017
4345:– via Google Books.
3059:sought by the male gaze.
2685:, as defined in the male
2501:Women's rights by country
1407:Female genital mutilation
4857:Abridgement available at
4535:(1973), "Section 3", in
4217:10.1177/0263276411398278
4175:Pdf via Amherst College.
3755:
3640:history of the fine arts
3544:psychological projection
3208:Negating the female gaze
2988:Effects of the male gaze
2798:Gazing at the nude woman
2506:Feminists by nationality
2480:Women's studies journals
2475:Women's rights activists
1193:Movements and ideologies
379:applied the concepts of
323:is the act of depicting
3938:Walters, Suzanna Danuta
3619:perspective of cinema:
2840:(1972), the art critic
1894:International relations
755:Intersectional variants
5445:Manic Pixie Dream Girl
5236:Feminist Media Studies
5055:"From Her Perspective"
3769:
3750:Princess Leia's bikini
3738:Sexual objectification
3651:
3535:
3463:
3357:
3177:sexual objectification
3007:
2999:Susanna and the Elders
2908:Susanna and the Elders
2890:Susanna and the Elders
2885:Susanna and the Elders
2877:Susanna and the Elders
2850:sexual objectification
2831:
2823:Susanna and the Elders
2813:
2809:Susanna and the Elders
2711:roles of men and women
2701:
2420:Conservative feminisms
1675:Bicycling and feminism
1651:Women in the workforce
1619:Violence against women
1594:Sexual objectification
1554:Opposition to feminism
811:Vegetarian ecofeminism
481:
312:
185:by rewriting it in an
5579:Feminism and the arts
4466:; King, Neal (eds.).
4458:Arons, Wendy (2001).
4335:. SAGE Publications.
4141:10.1093/screen/16.3.6
3839:"Feminist Aesthetics"
3621:
3521:
3457:
3420:racist pseudo-science
3351:
3245:Scopophilia displaced
3004:Artemisia Gentileschi
2995:
2942:The black female nude
2903:Artemisia Gentileschi
2819:
2805:
2695:
2689:of narrative cinema.
2450:Feminist rhetoricians
2440:Feminist philosophers
1992:Revisionist mythology
1695:Views on prostitution
1680:Criticism of marriage
1370:Children's literature
479:
447:Being and Nothingness
303:
5569:Feminist terminology
4948:. pp. 131β145.
4946:Feminist Film Theory
3669:The Austin Chronicle
3591:and the bank-robber
3079:Theories of the gaze
2955:Atlantic slave trade
2867:In the genre of the
2570:feminist film theory
2430:Feminist art critics
2405:Feminist comic books
2362:Lists and categories
2041:By continent/country
1872:Pathways perspective
1755:Gender mainstreaming
1690:Views on pornography
1599:Substantive equality
1579:Reproductive justice
1529:Matriarchal religion
1382:Diversity (politics)
1318:Political lesbianism
628:Other women's rights
81:improve this article
4052:Woman's Art Journal
3514:The homoerotic gaze
3150:the representations
2856:and that women are
2783:hyper-sexualization
2738:cinematic narrative
2528:Feminism portal
2435:Feminist economists
2425:Ecofeminist authors
2230:Trinidad and Tobago
2170:Republic of Ireland
1862:Composition studies
1629:Women's empowerment
1584:Sex workers' rights
1509:Feminist capitalism
1489:Internalized sexism
1422:Feminism in culture
530:History of feminism
461:β the asymmetry of
5548:Literary criticism
5232:The Stepford Wives
4755:The Matrixial Gaze
4180:2016-03-04 at the
3883:Philosophy Compass
3681:gender expressions
3666:and Sarah Jane of
3536:
3500:sexual orientation
3464:
3358:
3050:for girls include
3008:
2979:gender stereotypes
2938:of the spectator.
2832:
2814:
2702:
2582:castration anxiety
1840:Literary criticism
1705:Views on sexuality
1392:Effects on society
1360:Complementarianism
1335:Women's liberation
1090:Religious variants
1064:trans-exclusionary
782:Radical lesbianism
482:
339:from a masculine,
313:
232:possibly contains
187:encyclopedic style
174:is written like a
5556:
5555:
5524:Johanson analysis
5478:Female buddy film
5440:Celluloid ceiling
5219:. 13 August 1999.
4963:978-1-4744-7322-4
4862:Pollock, Griselda
4836:Pollock, Griselda
4832:Pollock, Griselda
4477:978-0-292-75251-1
4464:McCaughey, Martha
4147:Also available as
3824:978-0-07-229045-5
3664:confirmation bias
3562:heteronormativity
3492:cultural hegemony
3450:Queering the gaze
3372:oppositional gaze
3344:Oppositional gaze
3338:Oppositional gaze
3331:Farhat Basir Khan
3169:gender inequality
3162:Social inequality
3108:lack of the other
2924:social alienation
2768:and photographs,
2564:In the fields of
2562:
2561:
2513:
2512:
2032:
2031:
2022:womanist theology
1965:Political ecology
1796:Γcriture fΓ©minine
1723:
1722:
1614:Triple oppression
1604:Toxic masculinity
1589:Sexual harassment
1449:Feminist stripper
1427:Feminist movement
983:
982:
914:Africana womanism
745:
744:
459:sexual inequality
444:in his 1943 book
295:
294:
287:
277:
276:
269:
234:original research
215:
214:
207:
157:
156:
149:
131:
54:
5596:
5406:
5399:
5392:
5383:
5382:
5378:
5349:
5340:(2β3): 192β207.
5329:
5310:
5309:
5293:
5287:
5286:
5258:
5252:
5251:
5227:
5221:
5220:
5209:
5200:
5199:
5171:
5148:
5147:
5127:
5121:
5120:
5100:
5075:
5074:
5072:
5070:
5050:
5044:
5043:
5015:
5004:
5003:
4979:
4968:
4967:
4941:
4930:
4929:
4905:
4899:
4893:
4870:Garrard, Mary D.
4853:
4828:
4819:
4812:
4797:
4796:
4779:Ettinger, Bracha
4775:
4769:
4768:
4751:Ettinger, Bracha
4747:
4741:
4740:
4704:
4695:
4694:
4670:
4647:
4646:
4610:
4601:
4600:
4576:
4570:
4569:
4561:
4555:
4554:
4529:
4523:
4522:
4520:
4519:
4504:
4498:
4491:
4482:
4481:
4455:
4449:
4448:
4412:
4397:
4396:
4376:
4367:
4365:
4353:
4347:
4346:
4326:
4320:
4315:
4306:
4301:
4292:
4291:
4260:
4254:
4253:
4251:
4244:
4235:
4229:
4228:
4198:
4185:
4173:
4144:
4119:
4076:
4075:
4047:
4032:
4031:
4029:
4028:
4013:
4007:
3991:
3985:
3984:
3982:
3981:
3966:
3960:
3959:
3934:
3928:
3927:
3905:
3899:
3898:
3878:
3872:
3865:
3859:
3858:
3852:
3850:
3835:
3829:
3828:
3808:
3791:
3788:
3782:
3779:
3773:
3772:
3766:
3692:sexual selection
3623:From the moment
3532:Henry Scott Tuke
3488:the lesbian gaze
3460:Giuseppe Primoli
3324:heteropatriarchy
3318:(1916β1917), by
3277:Jay David Bolter
3235:iconographically
3214:Griselda Pollock
3057:the female ideal
2875:paintings about
2869:Renaissance nude
2754:object of beauty
2554:
2547:
2540:
2526:
2525:
2524:
2465:Feminist parties
2460:Muslim feminists
2455:Jewish feminists
2366:
2365:
2347:History of women
1970:Political theory
1738:
1737:
1668:
1667:
1641:
1634:Women-only space
1519:Likeability trap
1484:Invisible labour
1402:Female education
1211:Anti-pornography
1066:
1065:
1061:
777:Lesbian of color
760:
759:
637:Women's suffrage
613:Muslim countries
608:Women's suffrage
525:Feminist history
518:
517:
507:
484:
483:
438:Jean-Paul Sartre
290:
283:
272:
265:
261:
258:
252:
249:inline citations
225:
224:
217:
210:
203:
199:
196:
190:
167:
166:
159:
152:
145:
141:
138:
132:
130:
89:
65:
57:
46:
24:
23:
16:
5604:
5603:
5599:
5598:
5597:
5595:
5594:
5593:
5589:1975 neologisms
5574:Feminist theory
5559:
5558:
5557:
5552:
5499:
5449:
5413:
5410:
5327:
5319:
5317:Further reading
5314:
5313:
5294:
5290:
5259:
5255:
5234:And the Gaze".
5228:
5224:
5213:"The Savage Id"
5211:
5210:
5203:
5172:
5151:
5144:
5128:
5124:
5117:
5101:
5078:
5068:
5066:
5051:
5047:
5016:
5007:
5000:
4980:
4971:
4964:
4942:
4933:
4926:
4906:
4902:
4890:
4850:
4829:
4822:
4813:
4800:
4793:
4776:
4772:
4765:
4748:
4744:
4705:
4698:
4683:10.2307/1394792
4675:Feminist Review
4671:
4650:
4627:10.2307/2928465
4615:Representations
4611:
4604:
4597:
4577:
4573:
4562:
4558:
4551:
4530:
4526:
4517:
4515:
4513:The Independent
4505:
4501:
4492:
4485:
4478:
4456:
4452:
4429:10.2307/1225639
4413:
4400:
4377:
4370:
4354:
4350:
4343:
4327:
4323:
4316:
4309:
4302:
4295:
4277:10.2307/2107492
4261:
4257:
4249:
4242:
4236:
4232:
4199:
4188:
4182:Wayback Machine
4170:
4120:
4079:
4064:10.2307/1358782
4048:
4035:
4026:
4024:
4015:
4014:
4010:
4006:, 9781444355000
3992:
3988:
3979:
3977:
3975:The Independent
3967:
3963:
3956:
3935:
3931:
3924:
3906:
3902:
3879:
3875:
3866:
3862:
3848:
3846:
3837:
3836:
3832:
3825:
3809:
3805:
3800:
3795:
3794:
3789:
3785:
3780:
3776:
3767:
3763:
3758:
3746:
3704:
3636:
3609:
3516:
3452:
3392:white supremacy
3346:
3340:
3251:Lorraine Gamman
3231:Sidelong Glance
3222:Robert Doisneau
3218:Sidelong Glance
3159:
3157:The female gaze
3131:maternal figure
3112:Jacques Lacan's
3100:the female gaze
3090:Bracha Ettinger
3086:
3081:
2990:
2944:
2920:objectification
2800:
2766:sexual fetishes
2707:
2651:
2646:
2586:female presence
2558:
2522:
2520:
2515:
2514:
2416:
2363:
2355:
2354:
2353:
2262:Northern Cyprus
2042:
2034:
2033:
2028:
1850:Science fiction
1801:
1780:Women's studies
1745:Feminist method
1735:
1725:
1724:
1719:
1665:
1657:
1656:
1655:
1639:
1549:Oedipus complex
1539:Men in feminism
1504:Language reform
1479:Ideal womanhood
1459:Gender equality
1454:Formal equality
1417:Feminationalism
1355:Cognitive labor
1349:
1341:
1340:
1339:
1296:Post-structural
1195:
1185:
1184:
1183:
1092:
1082:
1081:
1080:
1063:
1060:Gender-critical
1059:
1058:
1009:Femonationalism
993:
985:
984:
979:
958:Native American
898:
853:Critical theory
815:
757:
747:
746:
741:
696:Second Republic
624:
594:
561:
535:Women's history
515:
467:representations
434:
359:The concept of
317:feminist theory
298:
291:
280:
279:
278:
273:
262:
256:
253:
238:
226:
222:
211:
200:
194:
191:
183:help improve it
180:
168:
164:
153:
142:
136:
133:
90:
88:
78:
66:
25:
21:
12:
11:
5:
5602:
5592:
5591:
5586:
5581:
5576:
5571:
5554:
5553:
5551:
5550:
5545:
5544:
5543:
5538:
5533:
5526:
5521:
5516:
5510:
5508:
5501:
5500:
5498:
5497:
5496:
5495:
5490:
5480:
5475:
5470:
5465:
5463:Women's cinema
5459:
5457:
5451:
5450:
5448:
5447:
5442:
5437:
5432:
5427:
5425:Hawksian woman
5421:
5419:
5415:
5414:
5412:Women in media
5409:
5408:
5401:
5394:
5386:
5380:
5379:
5361:(1/2): 45β59.
5350:
5318:
5315:
5312:
5311:
5288:
5253:
5222:
5201:
5182:(4): 671β680.
5149:
5142:
5122:
5115:
5076:
5045:
5026:(2): 217β235.
5005:
4998:
4969:
4962:
4931:
4924:
4900:
4898:
4897:
4888:
4848:
4820:
4798:
4791:
4770:
4763:
4742:
4696:
4648:
4602:
4595:
4571:
4556:
4549:
4541:Ways of Seeing
4524:
4499:
4495:Ways of Seeing
4483:
4476:
4450:
4417:Cinema Journal
4398:
4387:(4): 884β905.
4368:
4348:
4341:
4321:
4307:
4293:
4255:
4240:A Female Gaze?
4230:
4211:(5): 123β143.
4186:
4168:
4077:
4033:
4008:
3986:
3961:
3954:
3929:
3922:
3900:
3873:
3860:
3830:
3823:
3802:
3801:
3799:
3796:
3793:
3792:
3783:
3774:
3760:
3759:
3757:
3754:
3753:
3752:
3745:
3742:
3741:
3740:
3735:
3730:
3725:
3723:Male supremacy
3720:
3715:
3710:
3703:
3700:
3613:Camille Paglia
3608:
3605:
3515:
3512:
3458:Photograph by
3451:
3448:
3444:white feminism
3440:women of color
3436:black feminism
3342:Main article:
3339:
3336:
3303:
3302:
3281:Richard Grusin
3273:
3272:
3264:Mary Ann Doane
3260:
3259:
3247:
3246:
3210:
3209:
3194:social capital
3164:
3163:
3158:
3155:
3127:feminine Other
3114:definition of
3095:matrixial gaze
3085:
3084:Matrixial gaze
3082:
3080:
3077:
2989:
2986:
2959:hypersexuality
2943:
2940:
2913:private sphere
2862:representation
2844:used the term
2837:Ways of Seeing
2799:
2796:
2792:male privilege
2781:said that the
2715:phallocentrism
2706:
2703:
2687:sexual fantasy
2679:human identity
2650:
2647:
2645:
2642:
2560:
2559:
2557:
2556:
2549:
2542:
2534:
2531:
2530:
2517:
2516:
2511:
2510:
2509:
2508:
2503:
2495:
2494:
2490:
2489:
2488:
2487:
2482:
2477:
2472:
2467:
2462:
2457:
2452:
2447:
2445:Feminist poets
2442:
2437:
2432:
2427:
2422:
2415:
2414:
2412:Feminist songs
2409:
2408:
2407:
2402:
2392:
2391:
2390:
2388:by nationality
2380:
2374:
2371:
2370:
2364:
2361:
2360:
2357:
2356:
2352:
2351:
2350:
2349:
2339:
2337:United Kingdom
2334:
2329:
2324:
2319:
2314:
2309:
2304:
2299:
2294:
2289:
2284:
2279:
2274:
2269:
2264:
2259:
2254:
2249:
2244:
2239:
2234:
2233:
2232:
2227:
2222:
2217:
2212:
2207:
2202:
2197:
2187:
2182:
2177:
2172:
2167:
2162:
2157:
2152:
2147:
2142:
2137:
2132:
2127:
2122:
2117:
2112:
2107:
2102:
2097:
2092:
2091:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2044:
2043:
2040:
2039:
2036:
2035:
2030:
2029:
2027:
2026:
2025:
2024:
2014:
2009:
2004:
1999:
1994:
1989:
1988:
1987:
1977:
1972:
1967:
1962:
1961:
1960:
1955:
1950:
1948:Existentialism
1945:
1944:
1943:
1941:Justice ethics
1933:
1928:
1923:
1913:
1908:
1903:
1902:
1901:
1899:Constructivism
1891:
1886:
1881:
1876:
1875:
1874:
1864:
1859:
1854:
1853:
1852:
1847:
1842:
1837:
1827:
1822:
1817:
1811:
1808:
1807:
1806:Areas of study
1803:
1802:
1800:
1799:
1792:
1787:
1782:
1777:
1772:
1767:
1762:
1757:
1752:
1750:Gender studies
1747:
1741:
1736:
1731:
1730:
1727:
1726:
1721:
1720:
1718:
1717:
1715:SCUM Manifesto
1712:
1707:
1702:
1697:
1692:
1687:
1682:
1677:
1671:
1666:
1663:
1662:
1659:
1658:
1654:
1653:
1648:
1646:Women's rights
1643:
1640:Women's health
1636:
1631:
1626:
1621:
1616:
1611:
1606:
1601:
1596:
1591:
1586:
1581:
1576:
1571:
1566:
1561:
1556:
1551:
1546:
1541:
1536:
1531:
1526:
1524:Male privilege
1521:
1516:
1511:
1506:
1501:
1493:International
1491:
1486:
1481:
1476:
1471:
1466:
1461:
1456:
1451:
1446:
1445:
1444:
1439:
1434:
1424:
1419:
1414:
1409:
1404:
1399:
1394:
1389:
1384:
1379:
1374:
1373:
1372:
1362:
1357:
1351:
1350:
1347:
1346:
1343:
1342:
1338:
1337:
1332:
1330:Technofeminism
1327:
1326:
1325:
1320:
1315:
1305:
1304:
1303:
1293:
1288:
1287:
1286:
1285:
1284:
1274:
1269:
1259:
1258:
1257:
1256:
1255:
1240:
1235:
1230:
1229:
1228:
1223:
1213:
1208:
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1197:
1196:
1191:
1190:
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1186:
1182:
1181:
1176:
1175:
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1164:
1159:
1154:
1153:
1152:
1147:
1142:
1132:
1131:
1130:
1125:
1120:
1115:
1105:
1100:
1094:
1093:
1088:
1087:
1084:
1083:
1079:
1078:
1073:
1068:
1055:
1054:
1053:
1048:
1043:
1033:
1028:
1027:
1026:
1016:
1011:
1006:
1001:
995:
994:
992:Other variants
991:
990:
987:
986:
981:
980:
978:
977:
972:
967:
962:
961:
960:
950:
949:
948:
938:
937:
936:
931:
926:
916:
910:
907:
906:
900:
899:
897:
896:
891:
890:
889:
884:
874:
873:
872:
862:
861:
860:
855:
845:
840:
839:
838:
827:
824:
823:
817:
816:
814:
813:
808:
807:
806:
796:
791:
790:
789:
784:
779:
769:
763:
758:
753:
752:
749:
748:
743:
742:
740:
739:
738:
737:
727:
726:
725:
720:
718:Cayman Islands
713:United Kingdom
710:
705:
704:
703:
698:
690:
685:
680:
675:
670:
665:
660:
655:
650:
644:
641:
640:
633:
632:
631:
630:
623:
622:
621:
620:
615:
604:
601:
600:
596:
595:
593:
592:
587:
582:
577:
571:
568:
567:
563:
562:
560:
559:
558:
557:
552:
547:
542:
532:
527:
521:
516:
513:
512:
509:
508:
500:
499:
493:
492:
433:
430:
372:Ways of Seeing
349:sexual objects
296:
293:
292:
275:
274:
257:September 2024
229:
227:
220:
213:
212:
195:September 2024
171:
169:
162:
155:
154:
137:September 2024
69:
67:
60:
55:
29:
28:
26:
19:
9:
6:
4:
3:
2:
5601:
5590:
5587:
5585:
5582:
5580:
5577:
5575:
5572:
5570:
5567:
5566:
5564:
5549:
5546:
5542:
5539:
5537:
5534:
5532:
5529:
5528:
5527:
5525:
5522:
5520:
5517:
5515:
5514:Art criticism
5512:
5511:
5509:
5506:
5502:
5494:
5491:
5489:
5486:
5485:
5484:
5481:
5479:
5476:
5474:
5471:
5469:
5466:
5464:
5461:
5460:
5458:
5456:
5455:Women in film
5452:
5446:
5443:
5441:
5438:
5436:
5433:
5431:
5428:
5426:
5423:
5422:
5420:
5416:
5407:
5402:
5400:
5395:
5393:
5388:
5387:
5384:
5376:
5372:
5368:
5364:
5360:
5356:
5351:
5347:
5343:
5339:
5335:
5334:
5326:
5321:
5320:
5307:
5303:
5299:
5292:
5284:
5280:
5276:
5272:
5268:
5264:
5257:
5249:
5245:
5241:
5237:
5233:
5226:
5218:
5214:
5208:
5206:
5197:
5193:
5189:
5185:
5181:
5177:
5170:
5168:
5166:
5164:
5162:
5160:
5158:
5156:
5154:
5145:
5143:9781405150309
5139:
5135:
5134:
5126:
5118:
5116:9780415267052
5112:
5108:
5107:
5099:
5097:
5095:
5093:
5091:
5089:
5087:
5085:
5083:
5081:
5064:
5060:
5056:
5049:
5041:
5037:
5033:
5029:
5025:
5021:
5014:
5012:
5010:
5001:
4999:9780262024525
4995:
4991:
4987:
4986:
4978:
4976:
4974:
4965:
4959:
4955:
4951:
4947:
4940:
4938:
4936:
4927:
4925:9780941104425
4921:
4917:
4913:
4912:
4904:
4896:
4891:
4889:9780064302074
4885:
4881:
4877:
4876:
4871:
4867:
4866:Broude, Norma
4863:
4858:
4855:
4854:
4851:
4849:9780415007214
4845:
4841:
4837:
4833:
4827:
4825:
4817:
4811:
4809:
4807:
4805:
4803:
4794:
4792:9780262540810
4788:
4784:
4780:
4774:
4766:
4764:9780952489900
4760:
4756:
4752:
4746:
4738:
4734:
4730:
4726:
4722:
4718:
4714:
4710:
4703:
4701:
4692:
4688:
4684:
4680:
4677:(15): 62β75.
4676:
4669:
4667:
4665:
4663:
4661:
4659:
4657:
4655:
4653:
4644:
4640:
4636:
4632:
4628:
4624:
4621:(25): 30β41.
4620:
4616:
4609:
4607:
4598:
4596:9780198742715
4592:
4588:
4584:
4583:
4575:
4567:
4560:
4552:
4550:9780563122449
4546:
4542:
4538:
4534:
4528:
4514:
4510:
4503:
4497:(1972) p. 50.
4496:
4493:Berger, John
4490:
4488:
4479:
4473:
4469:
4465:
4461:
4454:
4446:
4442:
4438:
4434:
4430:
4426:
4422:
4418:
4411:
4409:
4407:
4405:
4403:
4394:
4390:
4386:
4382:
4375:
4373:
4363:
4359:
4352:
4344:
4342:9781452265469
4338:
4334:
4333:
4325:
4319:
4314:
4312:
4305:
4300:
4298:
4290:
4286:
4282:
4278:
4274:
4270:
4266:
4259:
4248:
4241:
4234:
4226:
4222:
4218:
4214:
4210:
4206:
4205:
4197:
4195:
4193:
4191:
4184:
4183:
4179:
4176:
4171:
4169:9780230576469
4165:
4161:
4157:
4156:Mulvey, Laura
4153:
4152:Mulvey, Laura
4148:
4142:
4138:
4134:
4130:
4129:
4124:
4123:Mulvey, Laura
4118:
4116:
4114:
4112:
4110:
4108:
4106:
4104:
4102:
4100:
4098:
4096:
4094:
4092:
4090:
4088:
4086:
4084:
4082:
4073:
4069:
4065:
4061:
4057:
4053:
4046:
4044:
4042:
4040:
4038:
4022:
4018:
4012:
4005:
4001:
3997:
3996:
3990:
3976:
3972:
3965:
3957:
3955:9780520089778
3951:
3947:
3943:
3939:
3933:
3925:
3923:9780271043968
3919:
3915:
3911:
3904:
3896:
3892:
3888:
3884:
3877:
3870:
3864:
3857:
3856:appreciation.
3845:. Winter 2012
3844:
3840:
3834:
3826:
3820:
3816:
3815:
3807:
3803:
3787:
3778:
3771:
3765:
3761:
3751:
3748:
3747:
3739:
3736:
3734:
3731:
3729:
3728:Screen theory
3726:
3724:
3721:
3719:
3716:
3714:
3713:Imperial gaze
3711:
3709:
3708:Androcentrism
3706:
3705:
3699:
3697:
3693:
3688:
3684:
3682:
3676:
3673:
3671:
3670:
3665:
3661:
3660:
3655:
3650:
3647:
3646:
3641:
3634:
3633:the male gaze
3630:
3626:
3620:
3618:
3614:
3604:
3602:
3598:
3594:
3590:
3586:
3585:
3580:
3579:good-and-evil
3575:
3572:
3567:
3563:
3557:
3554:
3549:
3548:homoeroticism
3545:
3541:
3540:the male gaze
3533:
3529:
3525:
3520:
3511:
3509:
3508:fetishization
3505:
3504:Platonic love
3501:
3497:
3493:
3489:
3485:
3481:
3477:
3473:
3469:
3461:
3456:
3447:
3445:
3441:
3437:
3432:
3430:
3426:
3421:
3416:
3414:
3409:
3408:working-class
3405:
3400:
3397:
3393:
3387:
3385:
3381:
3377:
3373:
3369:
3368:
3363:
3355:
3350:
3345:
3335:
3332:
3327:
3325:
3321:
3317:
3312:
3308:
3300:
3299:
3298:
3295:
3291:
3286:
3285:the male gaze
3282:
3278:
3270:
3269:
3268:
3265:
3257:
3256:
3255:
3252:
3244:
3243:
3242:
3240:
3236:
3232:
3227:
3223:
3219:
3215:
3207:
3206:
3205:
3202:
3197:
3195:
3191:
3190:exhibitionist
3186:
3182:
3178:
3174:
3170:
3161:
3160:
3154:
3151:
3147:
3143:
3139:
3134:
3132:
3128:
3123:
3121:
3117:
3113:
3109:
3105:
3104:the male gaze
3101:
3097:
3096:
3092:proposed the
3091:
3076:
3074:
3069:
3065:
3060:
3058:
3053:
3049:
3048:social graces
3045:
3040:
3037:
3031:
3029:
3025:
3024:phallocentric
3021:
3017:
3016:mental health
3013:
3005:
3001:
3000:
2994:
2985:
2982:
2980:
2976:
2972:
2966:
2962:
2960:
2956:
2952:
2951:
2939:
2937:
2933:
2929:
2925:
2921:
2916:
2915:of her life.
2914:
2910:
2909:
2904:
2900:
2896:
2892:
2891:
2886:
2882:
2878:
2874:
2870:
2865:
2863:
2859:
2855:
2851:
2847:
2846:the male gaze
2843:
2839:
2838:
2830:as an object.
2829:
2825:
2824:
2818:
2811:
2810:
2804:
2795:
2793:
2788:
2784:
2780:
2774:
2771:
2767:
2763:
2759:
2755:
2750:
2748:
2744:
2739:
2735:
2731:
2727:
2722:
2720:
2716:
2713:. Concerning
2712:
2705:Spectatorship
2699:
2694:
2690:
2688:
2684:
2680:
2676:
2672:
2668:
2664:
2660:
2656:
2641:
2639:
2638:sexual equals
2635:
2631:
2627:
2622:
2620:
2616:
2611:
2606:
2603:
2602:fetishization
2599:
2598:
2591:
2587:
2583:
2579:
2575:
2571:
2567:
2566:media studies
2555:
2550:
2548:
2543:
2541:
2536:
2535:
2533:
2532:
2529:
2519:
2518:
2507:
2504:
2502:
2499:
2498:
2497:
2496:
2492:
2491:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2417:
2413:
2410:
2406:
2403:
2401:
2398:
2397:
2396:
2393:
2389:
2386:
2385:
2384:
2381:
2379:
2376:
2375:
2373:
2372:
2368:
2367:
2359:
2358:
2348:
2345:
2344:
2343:
2342:United States
2340:
2338:
2335:
2333:
2330:
2328:
2325:
2323:
2320:
2318:
2315:
2313:
2310:
2308:
2305:
2303:
2300:
2298:
2295:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2258:
2255:
2253:
2250:
2248:
2245:
2243:
2240:
2238:
2235:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2211:
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2192:
2191:
2190:Latin America
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2126:
2123:
2121:
2118:
2116:
2113:
2111:
2108:
2106:
2103:
2101:
2098:
2096:
2093:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2050:
2049:
2046:
2045:
2038:
2037:
2023:
2020:
2019:
2018:
2015:
2013:
2012:Technoscience
2010:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1986:
1983:
1982:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1959:
1956:
1954:
1951:
1949:
1946:
1942:
1939:
1938:
1937:
1934:
1932:
1929:
1927:
1924:
1922:
1919:
1918:
1917:
1914:
1912:
1909:
1907:
1904:
1900:
1897:
1896:
1895:
1892:
1890:
1887:
1885:
1882:
1880:
1877:
1873:
1870:
1869:
1868:
1865:
1863:
1860:
1858:
1855:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1835:Art criticism
1833:
1832:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
1812:
1810:
1809:
1805:
1804:
1798:
1797:
1793:
1791:
1788:
1786:
1785:Men's studies
1783:
1781:
1778:
1776:
1773:
1771:
1768:
1766:
1763:
1761:
1758:
1756:
1753:
1751:
1748:
1746:
1743:
1742:
1740:
1739:
1734:
1729:
1728:
1716:
1713:
1711:
1708:
1706:
1703:
1701:
1698:
1696:
1693:
1691:
1688:
1686:
1685:Views on BDSM
1683:
1681:
1678:
1676:
1673:
1672:
1670:
1669:
1661:
1660:
1652:
1649:
1647:
1644:
1642:
1637:
1635:
1632:
1630:
1627:
1625:
1622:
1620:
1617:
1615:
1612:
1610:
1609:Transmisogyny
1607:
1605:
1602:
1600:
1597:
1595:
1592:
1590:
1587:
1585:
1582:
1580:
1577:
1575:
1572:
1570:
1569:Purplewashing
1567:
1565:
1564:Protofeminism
1562:
1560:
1557:
1555:
1552:
1550:
1547:
1545:
1542:
1540:
1537:
1535:
1532:
1530:
1527:
1525:
1522:
1520:
1517:
1515:
1512:
1510:
1507:
1505:
1502:
1500:
1496:
1492:
1490:
1487:
1485:
1482:
1480:
1477:
1475:
1474:Honor killing
1472:
1470:
1467:
1465:
1462:
1460:
1457:
1455:
1452:
1450:
1447:
1443:
1440:
1438:
1435:
1433:
1430:
1429:
1428:
1425:
1423:
1420:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1383:
1380:
1378:
1375:
1371:
1368:
1367:
1366:
1363:
1361:
1358:
1356:
1353:
1352:
1345:
1344:
1336:
1333:
1331:
1328:
1324:
1321:
1319:
1316:
1314:
1311:
1310:
1309:
1306:
1302:
1299:
1298:
1297:
1294:
1292:
1289:
1283:
1280:
1279:
1278:
1275:
1273:
1270:
1268:
1265:
1264:
1263:
1260:
1254:
1251:
1250:
1249:
1246:
1245:
1244:
1243:Individualist
1241:
1239:
1236:
1234:
1231:
1227:
1224:
1222:
1219:
1218:
1217:
1216:Cyberfeminism
1214:
1212:
1209:
1207:
1204:
1202:
1199:
1198:
1194:
1189:
1188:
1180:
1177:
1173:
1170:
1169:
1168:
1165:
1163:
1160:
1158:
1155:
1151:
1148:
1146:
1143:
1141:
1138:
1137:
1136:
1133:
1129:
1126:
1124:
1121:
1119:
1116:
1114:
1111:
1110:
1109:
1106:
1104:
1101:
1099:
1096:
1095:
1091:
1086:
1085:
1077:
1074:
1072:
1069:
1067:
1056:
1052:
1049:
1047:
1044:
1042:
1039:
1038:
1037:
1034:
1032:
1029:
1025:
1022:
1021:
1020:
1017:
1015:
1012:
1010:
1007:
1005:
1002:
1000:
999:Anti-abortion
997:
996:
989:
988:
976:
973:
971:
968:
966:
963:
959:
956:
955:
954:
951:
947:
944:
943:
942:
939:
935:
932:
930:
927:
925:
922:
921:
920:
917:
915:
912:
911:
909:
908:
905:
904:Multicultural
902:
901:
895:
892:
888:
887:Transnational
885:
883:
880:
879:
878:
875:
871:
868:
867:
866:
863:
859:
856:
854:
851:
850:
849:
846:
844:
841:
837:
834:
833:
832:
829:
828:
826:
825:
822:
819:
818:
812:
809:
805:
804:Postgenderism
802:
801:
800:
799:Transfeminism
797:
795:
792:
788:
785:
783:
780:
778:
775:
774:
773:
770:
768:
765:
764:
762:
761:
756:
751:
750:
736:
733:
732:
731:
730:United States
728:
724:
721:
719:
716:
715:
714:
711:
709:
706:
702:
699:
697:
694:
693:
691:
689:
686:
684:
683:Liechtenstein
681:
679:
676:
674:
671:
669:
666:
664:
661:
659:
656:
654:
651:
649:
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418:
416:
412:
408:
404:
403:Jacques Lacan
400:
399:Sigmund Freud
395:
393:
388:
386:
385:the male gaze
382:
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368:
364:
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230:This article
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172:This article
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98: β
97:
93:
92:Find sources:
86:
82:
76:
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70:This article
68:
64:
59:
58:
53:
51:
44:
43:
38:
37:
32:
27:
18:
17:
5541:Bechdel test
5530:
5505:Feminist art
5493:Scream queen
5473:Woman's film
5358:
5354:
5337:
5333:Porn Studies
5331:
5300:. Elsevier.
5297:
5291:
5266:
5262:
5256:
5239:
5235:
5231:
5225:
5216:
5179:
5175:
5132:
5125:
5105:
5067:. Retrieved
5058:
5048:
5023:
5020:NWSA Journal
5019:
4984:
4945:
4910:
4903:
4874:
4856:
4839:
4815:
4782:
4773:
4754:
4745:
4715:(1): 16β21.
4712:
4708:
4674:
4618:
4614:
4581:
4574:
4565:
4559:
4540:
4537:Berger, John
4533:Berger, John
4527:
4516:. Retrieved
4512:
4502:
4494:
4467:
4453:
4420:
4416:
4384:
4380:
4351:
4331:
4324:
4288:
4268:
4264:
4258:
4233:
4208:
4202:
4159:
4146:
4145:
4132:
4126:
4058:(2): 15β23.
4055:
4051:
4025:. Retrieved
4023:. 2016-09-22
4020:
4011:
3994:
3989:
3978:. Retrieved
3974:
3964:
3941:
3932:
3909:
3903:
3886:
3882:
3876:
3868:
3863:
3854:
3847:. Retrieved
3842:
3833:
3813:
3806:
3786:
3777:
3764:
3718:Male as norm
3689:
3685:
3677:
3674:
3667:
3657:
3652:
3643:
3632:
3622:
3617:objectifying
3610:
3599:includes an
3596:
3582:
3576:
3558:
3539:
3537:
3527:
3523:
3495:
3487:
3479:
3465:
3433:
3417:
3413:intellectual
3403:
3401:
3395:
3388:
3380:mirror stage
3365:
3359:
3328:
3315:
3310:
3304:
3290:hypermediacy
3289:
3284:
3274:
3271:Hypermediacy
3261:
3248:
3238:
3230:
3217:
3211:
3200:
3198:
3185:sexist norms
3165:
3145:
3141:
3137:
3135:
3126:
3124:
3119:
3115:
3107:
3103:
3099:
3093:
3087:
3063:
3061:
3056:
3041:
3032:
3027:
3019:
3011:
3009:
2998:
2983:
2971:intersection
2967:
2963:
2950:femme fatale
2948:
2945:
2935:
2917:
2907:
2894:
2889:
2884:
2866:
2857:
2853:
2845:
2835:
2833:
2822:
2808:
2787:emasculation
2775:
2751:
2733:
2729:
2725:
2723:
2718:
2708:
2675:human agency
2670:
2663:narcissistic
2654:
2652:
2626:value system
2623:
2615:gender roles
2607:
2601:
2594:
2585:
2563:
2292:Saudi Arabia
2088:South Africa
1931:Epistemology
1906:Legal theory
1825:Architecture
1815:Anthropology
1794:
1769:
1760:Gynocentrism
1624:War on women
1559:Pro-feminism
1514:Gender-blind
1464:Gender quota
1437:Art movement
1206:Anti-fascist
1140:Dianic Wicca
1019:Postfeminism
894:Xenofeminism
877:Postcolonial
794:Sex-positive
456:
445:
435:
421:
419:
415:scoptophilia
414:
410:
396:
389:
384:
380:
377:Laura Mulvey
370:
360:
358:
341:heterosexual
320:
314:
309:FΓ©lix Trutat
304:
281:
263:
254:
231:
201:
192:
173:
143:
134:
124:
117:
110:
103:
91:
79:Please help
74:verification
71:
47:
40:
34:
33:Please help
30:
5584:Film theory
5536:Female gaze
5519:Film theory
5468:Chick flick
5269:(1): 1β17.
4423:(2): 3β17.
4135:(3): 6β18.
3696:mate choice
3654:Nina Menkes
3597:Point Break
3589:protagonist
3584:Point Break
3566:action film
3425:colonialism
3320:Georg Grosz
3220:(1948), by
3138:mutual gaze
3073:self-hatred
3028:female gaze
2899:female-gaze
2842:John Berger
2779:Wendy Arons
2770:pornography
2743:protagonist
2649:Scopophilia
2630:advertising
2619:female gaze
2590:unconscious
2297:South Korea
2277:Philippines
2257:New Zealand
2252:Netherlands
1975:Pornography
1953:Metaphysics
1867:Criminology
1845:Film theory
1820:Archaeology
1499:Women's Day
1291:Libertarian
1233:Ecofeminism
1150:Ecofeminist
1031:Reactionary
1024:Neofeminism
965:Multiracial
870:Ecofeminist
865:Materialist
708:Switzerland
688:New Zealand
452:objectified
426:female gaze
411:scopophilia
407:scopophilia
392:black women
367:John Berger
333:visual arts
96:"Male gaze"
5563:Categories
5488:Final girl
5435:Jouissance
4518:2021-05-24
4271:(3): 359.
4027:2021-03-03
4004:1444355007
3980:2021-05-24
3798:References
3733:White gaze
3642:. was an
3601:attractive
3593:antagonist
3571:buddy film
3396:difference
3367:difference
3362:bell hooks
3354:bell hooks
3181:conforming
3146:difference
3098:, wherein
3068:body shame
3020:to perform
2975:misogynoir
2895:looking at
2873:Tintoretto
2683:sex appeal
2610:sight-line
2595:voyeurism-
2578:narcissism
2493:Categories
2395:Literature
2105:Bangladesh
1980:Psychology
1926:Empiricism
1921:Aesthetics
1916:Philosophy
1790:Patriarchy
1775:Matriarchy
1495:Girl's Day
1469:Girl power
1442:In hip hop
1365:Literature
1323:Separatist
1301:Postmodern
1267:Difference
1201:Analytical
1145:Reclaiming
953:Indigenous
858:Standpoint
787:Separatist
639:by country
471:patriarchy
432:Background
345:represents
337:literature
307:(1844) by
241:improve it
107:newspapers
36:improve it
5531:Male gaze
5430:Seriality
5367:0732-1562
5188:0340-2827
5059:The Hindu
5032:1040-0656
4737:144979328
4729:0361-6843
4635:0734-6018
4437:0009-7101
4225:144070861
3770:le regard
3629:Hitchcock
3607:Criticism
3574:the job.
3429:migration
3384:ego ideal
3226:bourgeois
3136:That the
2858:looked at
2758:sexuality
2734:looked-at
2698:pew group
2671:male gaze
2667:ego ideal
2659:voyeurism
2655:male gaze
2574:voyeurism
2383:Feminists
2195:Argentina
2155:Indonesia
2145:Hong Kong
2100:Australia
2007:Sociology
1889:Geography
1879:Economics
1770:Male gaze
1765:Kyriarchy
1226:Networked
1108:Christian
843:Jineology
831:Anarchist
821:Socialist
701:Francoist
653:Australia
599:Timelines
347:women as
321:male gaze
245:verifying
42:talk page
5375:40004636
5283:31851870
5196:41157425
5069:30 March
5063:Archived
4872:(eds.),
4753:(1995).
4362:Archived
4247:Archived
4178:Archived
4021:Repeller
3702:See also
3649:culture.
3645:a priori
3625:feminism
3553:othering
3528:gazed at
3496:the look
3480:the gaze
3468:paradigm
3311:the gaze
3201:the gaze
3148:between
3142:the gaze
3116:the gaze
3052:postural
3002:(1610),
2936:the gaze
2881:adultery
2700:, 1740s)
2644:Concepts
2378:Articles
2317:Thailand
2272:Pakistan
2242:Malaysia
2225:Paraguay
2215:Honduras
2063:Ethiopia
2017:Theology
2002:Sexology
1997:Sex wars
1911:Pedagogy
1664:Outlooks
1544:Misogyny
1412:Femicide
1397:Equality
1348:Concepts
1313:Cultural
1272:Equality
1253:Stiletto
1248:Lipstick
1172:Orthodox
1135:Neopagan
1123:Womanist
1103:Buddhist
1051:Embedded
1046:Imperial
1041:Carceral
1014:Maternal
975:Womanism
663:Colombia
550:Canadian
540:American
497:Feminism
489:a series
487:Part of
442:the gaze
422:the gaze
381:the gaze
362:the gaze
327:and the
5040:4316018
4880:245β267
4838:(ed.),
4691:1394792
4643:2928465
4539:(ed.),
4445:1225639
4285:2107492
4158:(ed.).
4072:1358782
3744:In film
3484:lesbian
3482:of the
3476:queered
3294:deviant
3120:subject
2854:look at
2730:looking
2634:fashion
2332:Ukraine
2327:Vietnam
2237:Lebanon
2135:Germany
2125:Finland
2120:Denmark
2095:Albania
2083:Senegal
2078:Nigeria
1985:Therapy
1958:science
1857:Biology
1308:Radical
1262:Liberal
1238:Eugenic
1162:Islamic
1098:Atheist
946:Lesbian
941:Chicana
934:Ratchet
929:Lesbian
924:Hip hop
848:Marxist
772:Lesbian
648:Austria
545:British
514:History
335:and in
331:in the
239:Please
181:Please
121:scholar
5507:theory
5483:Horror
5418:Tropes
5373:
5365:
5281:
5194:
5186:
5140:
5113:
5038:
5030:
4996:
4960:
4922:
4886:
4846:
4789:
4761:
4735:
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4689:
4641:
4633:
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4443:
4435:
4339:
4283:
4223:
4166:
4128:Screen
4070:
4002:
3952:
3920:
3849:13 May
3821:
3376:racism
3307:Medusa
2762:sexual
2597:sadism
2322:Turkey
2312:Taiwan
2302:Sweden
2287:Russia
2282:Poland
2267:Norway
2220:Mexico
2200:Brazil
2175:Israel
2140:Greece
2130:France
2110:Canada
2048:Africa
1936:Ethics
1733:Theory
1574:Racism
1277:Social
1167:Jewish
1113:Mormon
1071:Victim
1004:Equity
970:Romani
882:Global
735:states
692:Spain
678:Kuwait
658:Canada
590:Fourth
580:Second
555:German
319:, the
123:
116:
109:
102:
94:
5371:JSTOR
5328:(PDF)
5242:(2).
5217:Salon
5192:JSTOR
5036:JSTOR
4990:64β87
4733:S2CID
4687:JSTOR
4639:JSTOR
4462:. In
4441:JSTOR
4281:JSTOR
4250:(PDF)
4243:(PDF)
4221:S2CID
4068:JSTOR
3756:Notes
3404:Women
3239:being
3199:That
3173:power
3036:class
2719:looks
2369:Lists
2307:Syria
2247:Nepal
2210:Haiti
2205:Chile
2185:Japan
2180:Italy
2150:India
2115:China
2068:Ghana
2058:Egypt
1534:Media
1282:Labor
1157:Hindu
1128:Asian
1076:White
1036:State
919:Black
836:Queer
723:Wales
673:Japan
668:India
585:Third
575:First
566:Waves
329:world
325:women
128:JSTOR
114:books
5363:ISSN
5279:PMID
5184:ISSN
5138:ISBN
5111:ISBN
5071:2017
5028:ISSN
4994:ISBN
4958:ISBN
4920:ISBN
4895:Pdf.
4884:ISBN
4844:ISBN
4787:ISBN
4759:ISBN
4725:ISSN
4631:ISSN
4591:ISBN
4545:ISBN
4472:ISBN
4433:ISSN
4337:ISBN
4164:ISBN
4000:ISBN
3950:ISBN
3918:ISBN
3851:2015
3819:ISBN
3694:and
3427:and
3279:and
3102:and
2928:self
2828:Self
2747:plot
2726:look
2677:and
2600:and
2568:and
2165:Iraq
2160:Iran
2073:Mali
1884:FDPA
1497:and
1179:Sikh
413:and
401:and
353:male
100:news
5342:doi
5302:doi
5271:doi
5244:doi
4950:doi
4717:doi
4679:doi
4623:doi
4425:doi
4389:doi
4273:doi
4213:doi
4137:doi
4060:doi
3914:126
3891:doi
3183:to
3062:In
3010:In
1830:Art
1221:HCI
1118:New
1062:or
767:Fat
369:in
315:In
243:by
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