489:
3274:"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".
3526:
3453:, 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.
3462:
2810:
312:
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2984:. 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
3329:, 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
3602:. 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,
517:
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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).
2643:) 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
2530:
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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.,
74:
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3385:. 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
3046:
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.
2964:, 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
2871:. 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.
3147:, 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
2756:. 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.
2728:: 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.
3580:
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
3320:
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
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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
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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
2783:
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
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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
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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
3644:
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
3575:
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.
3125:. 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
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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
3235:
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
3693:
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
3685:
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
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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
3273:
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
2971:
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
2611:
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
3045:
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
3260:
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
3396:
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
3340:
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.
3173:
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
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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
2779:
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
3061:
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
2878:, 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
2747:
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
3321:
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
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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.
2953:
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
3303:
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.
3430:
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
3140:. 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."
2975:
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
3405:
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".
2796:
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
2612:
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.
3557:
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
3566:
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
3194:
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
3073:(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
3417:
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
3413:" 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
2941:, 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
712:
3862:
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
3655:
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
3562:
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.
3040:
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
624:
3159:
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.
3021:(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
401:
The beauty standards perpetuated by the male gaze have historically sexualized and fetishized the black female nude due to an attraction to their physical characteristics, but at the same time punished
3371:
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
2918:(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
3004:
2913:
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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
462:; 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
3642:
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.
3441:
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 '
707:
3501:
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
639:
3509:
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
3316:
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
3037:, 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.
322:
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.
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386:(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
3299:(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
746:
3610:
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.
2059:
469:
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
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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.
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3915:
Devereaux, Mary (1995). "Oppressive Texts, Resisting Readers, and the Gendered Spectator: The "New" Aesthetics". In Brand, Peggy Z.; Korsmeyer, Carolyn (eds.).
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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."
4901:
2904:
Susanna-as-spectacle. The male-gaze perspectives of Tintoretto's paintings represent Susanna as nonchalant at being gazed upon in her nudity, whereas the
2716:
Two types of spectatorship occur while viewing a film, wherein the spectator consciously and unconsciously engages in the societally defined-and-assigned
4296:
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.
2676:), 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
2558:
3393:, the oppositional gaze functions as a form of looking back, in search of the black female body within the cinematic idealization of white womanhood.
729:
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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
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2819:(1550β1560) Tintoretto shows Susanna directly looking at the spectator gazing at the painting of which she is the subject; aware of being looked at.
1383:
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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
2833:(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
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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
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of homosexual attraction is sublimated onto the women characters of the story, to distract the spectator of the film story from noticing that
3481:
between men and women. In "Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film" (1988), academic Karen Hollinger
2991:
Black male artists are also responsible for depicting sexualized black women in art and such practice has been seen abundant in recent media.
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4482:
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resistance and understanding and awareness of the politics of race and of racism by way of cinematic whiteness, inclusive of the male gaze.
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Calogero, Rachel M. (2004-03-01). "A Test of Objectification Theory: The Effect of the Male Gaze on Appearance Concerns in College Women".
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and with it a phallocentric spectatorship where the woman to be looked-at and desired is white". Accounting for the social signifiers of
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developed male-gaze theory to account for the exclusion and invisibility of black women from the male gaze and idealized white womanhood.
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2968:: the idea and stereotype that black women are inherently sexual creatures with uncontrollable desires reflective of animal behavior.
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negative emotional response to the cinematic representation of women that "denies the 'body' of the black female so as to perpetuate
5148:
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5004:
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Gamman, Lorraine (1989), "Watching the Detectives: The Enigma of the Female Gaze", in Gamman, Lorraine; Marshment, Margaret (eds.),
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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
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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.
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3244:, 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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1998:
1964:
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Hoskin, Rhea Ashley (2019). "Can femme be theory? Exploring the epistemological and methodological possibilities of femme".
4467:"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.
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3505:, and consequently of female desire", which is communicated in the narrative ambiguity of lesbian cinema, wherein "the
3151:; and second, that said sexual demarcations are based upon patterns of dominance and submission. Such a demarcation of
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Bolter, Jay David; Grusin, Richard (1999), "Networks of Remediation", in Bolter, Jay David; Grusin, Richard (eds.),
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1971:
561:
91:
46:
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Sassatelli, Roberta (September 2011). "Interview with Laura Mulvey: Gender, Gaze and Technology in Film Culture".
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Thus for the female, the objection to the male gaze serves not only to reject undesirable men and thus facilitate
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84:
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Mulvey, Laura (2006) . "Visual Pleasure and Narrative Cinema". In Meenakshi Gigi Durham; Douglas Kellner (eds.).
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In the context of feminist theory, the absence of discussion of racial relations within the totalizing category
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1976:
1413:
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became a whipping-boy for feminist theory. I've been very vocal about my opposition to the simplistic theory of
3594:(1991), the female gaze of the woman director presents and analyses homoerotic attraction between the policeman
3132:
In the essay, "Is the Gaze Male?" (1983), E. Kaplan said that the male gaze constructs a false, hypersexualized
394:
to critique traditional representations of women in cinema, from which work emerged the concept and the term of
5595:
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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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2094:
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Hollinger, Karen (1998). "Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film".
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Doane, Mary Ann (1999). "Film and the Masquerade: Theorising the Female Spectator". In Thornham, Sue (ed.).
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2900:(1555β1556), Susanna is looking at herself in a mirror, and thus joins the two old men and the spectator in
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1947:
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124:
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Anthias, Floya; Yuval-Davis, Nira (2007). "Contextualizing Feminism: Gender, Ethnic and Class Divisions".
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implicitly teach girls and women how they are expected to behave when scrutinized by the male gaze. These
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are the foundations from which Mulvey developed the theory of the male gaze and interpreted and explained
359:
4169:(2nd ed.). Houndmills, Basingstoke, Hampshire England New York: Palgrave Macmillan. pp. 14β30.
3705:, but also to counter the feelings of personal insignificance arising out of narrow conceptions of self.
3682:
Elyce Rae Helford, a gender researcher, notes that Mulvey's theory has been criticised for essentialism.
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in relationships among women, because the narrative ambiguity of lesbian cinema thwarts the heterosexual
421:, the "primordial wish for pleasurable looking" that is satisfied by the cinematic experience. The terms
5303:
Pyszczynski, Tom; Solomon, Sheldon; Greenberg, Jeff (2015). "Thirty Years of Terror Management Theory".
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advantageously using sexual objectification to profitably manipulate the sexist norms of patriarchy for
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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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is a psychological "safety valve for homoerotic tensions" among heterosexual men; in genre cinema, the
429:
identify both the aesthetic joy and the sexual pleasures derived from looking at someone or something.
3874:
That the male gaze applies to literature and to the visual arts: ΕuczyΕska-HoΕdys, MaΕgorzata (2013).
106:
5590:
5525:
3675:
3300:
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A Test of Objectification Theory: The Effect of the Male Gaze on Appearance Concerns in College Women
3058:
2961:
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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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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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2013:
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4764:. Leeds, UK: Feminist Arts and Histories Network, Department of Fine Art, University of Leeds.
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2628:, an aesthetic choice based upon the inequality of sociopolitical power between men and women.
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Hooks, Bell (2003). "The Oppositional Gaze: Black Female Spectators". In Amelia Jones (ed.).
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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
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masculinity. In comparison to the feelings of a man who anticipates being subjected to the
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The use of sexual difference to justify discrimination towards women is comparable to how
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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
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3845:
2933:: the psychological splitting that occurs from seeing oneself as one is and seeing one's
319:
5360:
Hobson, Janell (2002). "Viewing in the Dark: Toward a Black Feminist Approach to Film".
5431:
5181:
Schuckmann, Patrick (1998). "Masculinity, the Male Spectator and the Homoerotic Gaze".
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addresses the visual negation of the female gaze. Using the example of the photograph
2784:
Deadly Drop-kick Will: Violent Women in Hong Kong Kung fu Film" (0000), the dramaturg
5569:
5461:
5219:
4743:
4727:
4231:
3947:(1995). "Visual Pressures: On Gender and Looking". In Walters, Suzanna Danuta (ed.).
3901:
3876:
Soft-Shed Kisses: Re-visioning the Femme Fatale in English Poetry of the 19th Century
3734:
3714:
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in order to dismiss the sensual feminine within every person innately connected to a
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In the essay "Modernity and the Spaces for Femininity" (1988), the cultural analyst
2587:(pleasure from contemplating one's self). Parting from the Freudian concept of male
5547:
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5339:
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In the essay "The Oppositional Gaze: Black Female Spectators" (1997), the academic
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5281:
4365:"This is Not Sex: A Web Essay on the Male Gaze, Fashion Advertising, and the Pose"
4363:
Streeter, Thomas; Hintlian, Nicole; Chipetz, Samantha; Callender, Susanna (2005).
2631:
As an ideological basis of patriarchy, sociopolitical inequality is realized as a
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3389:, during which a child develops the capacity for self-recognition, and thus the
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In the essay "Film and the Masquerade: Theorising the Female Spectator" (1999),
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3079:
2985:
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2894:(1550β1560), Susanna "looks back at us looking at her"; in the second painting,
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noting Menkes plucking out scenes from certain films without proper context.
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In the essay, "Medusa and the Female Gaze" (1990), Susan Bowers explores the
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3054:
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2704:
2673:
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2580:
1771:
854:
5289:
4270:
Stack, George J.; Plant, Robert W. (1982). "The Phenomenon of 'The Look'".
3663:'s 2022 documentary about the cinematic male gaze based on Mulvey's works,
3095:
To address the psychological limitations of the male gaze, the philosopher
4057:
Farrington, Lisa E. (1983). "Reinventing Herself: The Black Female Nude".
2739:
generally is perceived as the man's active role in the story, while being
2680:. In cinematic representations of women, the male gaze denies the woman's
3651:
3631:
3478:
3474:
2887:
2792:
of the bodies of female characters symbolically diminishes the threat of
1550:
1418:
986:
508:
5381:
5202:
4788:(1996), "The With-in-visible Screen", in de Zegher, M. Catherine (ed.),
4246:
3336:
In the article "From Her Perspective" (2017), photographer and academic
3182:, women are socially unequal. On the one hand, a woman who welcomes the
5046:
4697:
4649:
4451:
4291:
4078:
3497:. In lesbian cinema, the absence of male-gaze social control voids the
3490:
2640:
2583:(looking as sexual pleasure), scopophilia (pleasure from looking), and
1217:
477:
between men and women β is a controlling social force in the cinematic
339:
4620:
Snow, Edward (1989-01-01). "Theorizing the Male Gaze: Some Problems".
3919:. University Park, Pennsylvania: Penn State University Press. p.
2724:, the spectator views a film from the perspectives of three different
3449:) which were never addressed or supported by the white feminists. In
3382:
3313:
3191:
2859:
of women in the arts and in advertising β by distinguishing that men
2752:
whose actions directly affect the outcome of the story or propel the
2621:
4689:
4633:
4435:
4283:
4070:
3256:
In "Watching the Detectives: The Enigma of the Female Gaze" (1989),
262:. Statements consisting only of original research should be removed.
4325:
Brainwashed: Sex-Camera-Power - Movie Review - The Austin Chronicle
3524:
3482:
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3354:
2998:
2822:
2808:
2698:
2615:
In narrative film, the visual perspective of the male gaze is the
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335:
310:
5388:
4847:
Vision and Difference: Femininity, Feminism, and Histories of Art
3669:, was criticized by Marya E. Gates of RogerEbert.com as having a
3533:(1921β1922) depicts Lawrence as the young man on the beach being
3473:
Most applications of male gaze theory have been about the social
3445:' had to be made to address the issues of black women (and other
3333:, which demarcates sexual roles as either masculine or feminine.
4005:, edited by Sharon L. James, Sheila Dillon, p. 75, 2012, Wiley,
3951:. Berkeley, California: University of California Press. p.
3719:
2934:
2834:
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in the extreme), and the scopophilic pleasure that is linked to
2591:, Mulvey said that because the woman does not have a penis, her
453:
372:
5392:
5332:"Male gays in the female gaze: women who watch m/m pornography"
4825:(pp. 309β327). New York: NYU Press. doi:10.2307/j.ctv12pnr6v.28
363:
227:
169:
67:
26:
4320:
4318:
4311:
Brainwashed: Sex-Camera-Power movie review (2022)|Roger Ebert
2635:
by which male-created institutions (e.g. the movie business,
406:
and excluded their bodies from what is considered desirable.
4381:
4379:
4252:(Report). Stockholm, Sweden: Royal Institute of Technology.
3888:
Eaton, E.W. (September 2008). "Feminist Philosophy of Art".
2579:, the male gaze is conceptually related to the behaviors of
3571:: heterosexuality as the social norm. The first plot is an
2886:, a biblical story about a pretty woman falsely accused of
187:
personal reflection, personal essay, or argumentative essay
2660:
The Freudian concept of scopophilia produced two types of
3469:: Two girls greet each other with a kiss; a boy looks on.
3295:
desire, is a woman." Bolter and Grusin proposed the term
2980:
of oppression that black women navigate, which is called
432:
Concerning the psychologic applications and functions of
4792:, Cambridge, Massachusetts: MIT Press, pp. 89β116,
4203:
4201:
4199:
4197:
3949:
Material Girls: Making Sense of Feminist Cultural Theory
3381:
hooks said that the power in looking also is defined by
5025:
Bowers, Susan R. (1990). "Medusa and the Female Gaze".
4589:
Practices of Looking: An Introduction to Visual Culture
4132:(Autumn 1975). "Visual Pleasure and Narrative Cinema".
251:
193:
4871:(1992), "Modernity and the Spaces for Femininity", in
4841:(1988), "Modernity and the Spaces for Femininity", in
4024:"6 Female Artists on What the Male Gaze Means to Them"
2735:(camera, spectator, characters) is that the action of
3178:
in a patriarchal society. From either perspective of
2703:
The male gaze of a male puppet (detail of an English
4918:
The Female Gaze: Women as Viewers of Popular Culture
4833:
4831:
4592:, Oxford New York: Oxford University Press, p.
3824:. McGraw-Hill Companies, Incorporated. pp. IV.
2731:
The visual perspective common to the three types of
2664:: the pleasure that is linked to sexual attraction (
436:, the male gaze is conceptually contrasted with the
5510:
5460:
5424:
4306:
4304:
4161:(2009). "Visual pleasure and narrative cinema". In
3622:rejected the concept of the male gaze as being the
3261:disrupts the phallocentric power of the male gaze.
98:. Unsourced material may be challenged and removed.
5176:
5174:
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4052:
4050:
4048:
4046:
4044:
3634:began to solidify its ideology in the early '70s,
2767:, scopophilia refers to the pleasure (sensual and
4882:The Expanding Discourse: Feminism and Art History
4550:, London: BBC Penguin Books, pp. 45 and 47,
4417:
4415:
4413:
4411:
4409:
3618:In "The Savage Id" (1999), the feminist academic
4995:, Cambridge, Massachusetts: MIT Press, pp.
4709:
4707:
4516:"How John Berger Changed Our Ways of Seeing Art"
3978:"How John Berger Changed Our Ways of Seeing Art"
3686:reality lesbians are diverse in their preferred
3645:about the history of painting or sculpture, the
466:β perceived as an object, not as a human being.
4675:
4673:
4671:
4669:
4667:
4665:
4663:
4661:
4659:
3029:by and for men to the unrealistic standards of
2801:, as the possessor of the objectifying gaze."
5020:
5018:
5016:
4984:
4982:
4980:
4849:, London New York: Routledge, pp. 50β90,
4817:
4815:
4813:
4811:
4809:
4496:
4494:
4124:
4122:
4120:
4118:
4116:
4114:
4112:
4110:
4108:
3821:Encounters: Essays for Exploration and Inquiry
3584:The third plot is the thematic exploration of
5404:
5105:
5103:
5101:
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5097:
5095:
5093:
5091:
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4098:
4096:
4094:
4092:
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8:
3775:
5143:. Malden, MA: Blackwell. pp. 342β352.
4823:Powers of Desire: The Politics of Sexuality
3818:Hoy, Pat C.; DiYanni, Robert (1999-11-23).
61:Learn how and when to remove these messages
5411:
5397:
5389:
5305:Advances in Experimental Social Psychology
4571:Christiansen, Keith; Mann, Judith (2001).
3531:T.E. Lawrence as a Cadet at Newporth Beach
2559:
2545:
2372:
1744:
1674:
1439:African-American women's suffrage movement
771:
529:
495:
4477:. University of Texas Press. p. 41.
4373:Essay about the male gaze in advertising.
4002:A Companion to Women in the Ancient World
3240:photograph is that: "She is contrasted,
376:was first used by the English art critic
296:Learn how and when to remove this message
278:Learn how and when to remove this message
216:Learn how and when to remove this message
158:Learn how and when to remove this message
5116:. New York: Routledge. pp. 94β105.
4272:Philosophy and Phenomenological Research
3485:male-gaze theory to develop and explain
3019:Theorizing the Male Gaze: Some Problems
2827:The male gaze: in the second version of
1384:Discrimination against transgender women
5113:The Feminism and Visual Cultural Reader
3878:, Cambridge Scholars Publishing, p. 15.
3810:
3768:
3186:of the male gaze might be perceived as
2988:that apply to all depictions of women.
2813:The male gaze: In the first version of
2499:
2375:
1812:
914:
831:
647:
610:
577:
507:
3588:within a character. In the genre film
2763:. Moreover, as an expression of human
5214:
5212:
4921:, Seattle: Real Comet Press, p.
4615:
4613:
4475:Reel Knockouts: Violent Women in Film
3282:In "Networks of Remediation" (1999),
362:for the pleasure of the heterosexual
7:
5140:Media and Cultural Studies: Keywords
4885:, New York: Icon Editions, pp.
3917:Feminism and tradition in aesthetics
3545:Male-gaze theory also proposes that
3517:of the sexual identity of lesbians.
3359:The oppositional gaze: The academic
2672:identification (the introjection of
96:adding citations to reliable sources
4992:Remediation Understanding New Media
3850:Stanford Encyclopedia of Philosophy
2937:as an idealized representation. In
4336:Ritzer, George (August 11, 2004).
3788:Alongside African men and children
3231:, Pollock describes a middle-aged
2841:In the television series and book
2595:provokes sexual insecurity in the
25:
5183:Amerikastudien / American Studies
3113:constitute each other from their
3003:The female gaze: in the painting
2867:as the subject of an image, as a
42:This article has multiple issues.
5072:from the original on 2 June 2018
4728:10.1111/j.1471-6402.2004.00118.x
4573:Orazio and Artemesia Gentileschi
4371:from the original on 2011-11-06.
4259:from the original on 2011-10-04.
3902:10.1111/j.1747-9991.2008.00154.x
3797:To stand straight and not slouch
3529:The Queer gaze: In the painting
3479:sexually exclusive relationships
2528:
2060:Democratic Republic of the Congo
1394:Diversity, equity, and inclusion
515:
232:
174:
72:
31:
3896:(5). Wiley-Blackwell: 873β893.
2908:perspective of the painting by
448:The existentialist philosopher
409:The psychoanalytic theories of
83:needs additional citations for
50:or discuss these issues on the
2929:of women to Lacan's theory of
2492:Women's suffrage organizations
354:perspective that presents and
1:
5353:10.1080/23268743.2015.1052937
5282:10.1080/10894160.2019.1702288
4716:Psychology of Women Quarterly
4575:. Metropolitan Museum of Art.
4400:10.1016/S0160-7383(99)00113-9
4339:Encyclopedia of Social Theory
4245:Jacobsson, Eva-Maria (1999).
4211:Theory, Culture & Society
3666:Brainwashed: Sex-Camera-Power
3308:Feminization of the male gaze
3290:said that Mulvey's theory of
5237:Helford, Elyce Rae (2006). "
3576:The second plot is from the
3477:of heterosexual patriarchy:
3377:, through the theory of the
3265:Pursuit of the absent object
2939:Italian Renaissance painting
2477:Suffragists and suffragettes
2407:American feminist literature
5330:Neville, Lucy (July 2015).
5313:10.1016/bs.aesp.2015.03.001
3051:conservative traditionalism
2855:to discuss and explain the
1717:Views on transgender topics
1707:Views on sexual orientation
316:Nude Girl on a Panther Skin
258:the claims made and adding
5612:
5270:Journal of Lesbian Studies
4514:Bell, Vicki (2017-01-14).
4388:Annals of Tourism Research
4167:Visual and other pleasures
3976:Bell, Vicki (2017-01-14).
3694:focus on the female body.
3537:by the man in the water. (
3348:
3323:Sex Murder on Ackerstrasse
2771:) derived from looking at
475:social and political power
452:introduced the concept of
308:Concept in feminist theory
5362:Women's Studies Quarterly
5255:10.1080/14680770600645119
5060:Khan, Atif (2017-01-04).
4961:10.1515/9781474473224-017
4352:– via Google Books.
3066:sought by the male gaze.
2692:, as defined in the male
2508:Women's rights by country
1414:Female genital mutilation
4864:Abridgement available at
4542:(1973), "Section 3", in
4224:10.1177/0263276411398278
4182:Pdf via Amherst College.
3647:history of the fine arts
3551:psychological projection
3215:Negating the female gaze
2995:Effects of the male gaze
2805:Gazing at the nude woman
2513:Feminists by nationality
2487:Women's studies journals
2482:Women's rights activists
1205:Movements and ideologies
390:applied the concepts of
334:is the act of depicting
3945:Walters, Suzanna Danuta
3626:perspective of cinema:
2847:(1972), the art critic
1901:International relations
767:Intersectional variants
5452:Manic Pixie Dream Girl
5243:Feminist Media Studies
5062:"From Her Perspective"
3776:
3757:Princess Leia's bikini
3745:Sexual objectification
3658:
3542:
3470:
3364:
3184:sexual objectification
3014:
3006:Susanna and the Elders
2915:Susanna and the Elders
2897:Susanna and the Elders
2892:Susanna and the Elders
2884:Susanna and the Elders
2857:sexual objectification
2838:
2830:Susanna and the Elders
2820:
2816:Susanna and the Elders
2718:roles of men and women
2708:
2427:Conservative feminisms
1682:Bicycling and feminism
1658:Women in the workforce
1626:Violence against women
1601:Sexual objectification
1561:Opposition to feminism
823:Vegetarian ecofeminism
493:
323:
196:by rewriting it in an
5586:Feminism and the arts
4473:; King, Neal (eds.).
4465:Arons, Wendy (2001).
4342:. SAGE Publications.
4148:10.1093/screen/16.3.6
3846:"Feminist Aesthetics"
3628:
3528:
3464:
3427:racist pseudo-science
3358:
3252:Scopophilia displaced
3011:Artemisia Gentileschi
3002:
2949:The black female nude
2910:Artemisia Gentileschi
2826:
2812:
2702:
2696:of narrative cinema.
2457:Feminist rhetoricians
2447:Feminist philosophers
1999:Revisionist mythology
1702:Views on prostitution
1687:Criticism of marriage
1377:Children's literature
491:
459:Being and Nothingness
314:
5576:Feminist terminology
4955:. pp. 131β145.
4953:Feminist Film Theory
3676:The Austin Chronicle
3598:and the bank-robber
3086:Theories of the gaze
2962:Atlantic slave trade
2874:In the genre of the
2577:feminist film theory
2437:Feminist art critics
2412:Feminist comic books
2369:Lists and categories
2048:By continent/country
1879:Pathways perspective
1762:Gender mainstreaming
1697:Views on pornography
1606:Substantive equality
1586:Reproductive justice
1536:Matriarchal religion
1389:Diversity (politics)
1330:Political lesbianism
640:Other women's rights
92:improve this article
4059:Woman's Art Journal
3521:The homoerotic gaze
3157:the representations
2863:and that women are
2790:hyper-sexualization
2745:cinematic narrative
2535:Feminism portal
2442:Feminist economists
2432:Ecofeminist authors
2237:Trinidad and Tobago
2177:Republic of Ireland
1869:Composition studies
1636:Women's empowerment
1591:Sex workers' rights
1516:Feminist capitalism
1496:Internalized sexism
1429:Feminism in culture
542:History of feminism
473:β the asymmetry of
5555:Literary criticism
5239:The Stepford Wives
4762:The Matrixial Gaze
4187:2016-03-04 at the
3890:Philosophy Compass
3688:gender expressions
3673:and Sarah Jane of
3543:
3507:sexual orientation
3471:
3365:
3057:for girls include
3015:
2986:gender stereotypes
2945:of the spectator.
2839:
2821:
2709:
2589:castration anxiety
1847:Literary criticism
1712:Views on sexuality
1399:Effects on society
1367:Complementarianism
1347:Women's liberation
1102:Religious variants
1076:trans-exclusionary
794:Radical lesbianism
494:
350:from a masculine,
324:
243:possibly contains
198:encyclopedic style
185:is written like a
5563:
5562:
5531:Johanson analysis
5485:Female buddy film
5447:Celluloid ceiling
5226:. 13 August 1999.
4970:978-1-4744-7322-4
4869:Pollock, Griselda
4843:Pollock, Griselda
4839:Pollock, Griselda
4484:978-0-292-75251-1
4471:McCaughey, Martha
4154:Also available as
3831:978-0-07-229045-5
3671:confirmation bias
3569:heteronormativity
3499:cultural hegemony
3457:Queering the gaze
3379:oppositional gaze
3351:Oppositional gaze
3345:Oppositional gaze
3338:Farhat Basir Khan
3176:gender inequality
3169:Social inequality
3115:lack of the other
2931:social alienation
2775:and photographs,
2571:In the fields of
2569:
2568:
2520:
2519:
2039:
2038:
2029:womanist theology
1972:Political ecology
1803:Γcriture fΓ©minine
1730:
1729:
1621:Triple oppression
1611:Toxic masculinity
1596:Sexual harassment
1456:Feminist stripper
1434:Feminist movement
995:
994:
926:Africana womanism
757:
756:
471:sexual inequality
456:in his 1943 book
306:
305:
298:
288:
287:
280:
245:original research
226:
225:
218:
168:
167:
160:
142:
65:
16:(Redirected from
5603:
5413:
5406:
5399:
5390:
5385:
5356:
5347:(2β3): 192β207.
5336:
5317:
5316:
5300:
5294:
5293:
5265:
5259:
5258:
5234:
5228:
5227:
5216:
5207:
5206:
5178:
5155:
5154:
5134:
5128:
5127:
5107:
5082:
5081:
5079:
5077:
5057:
5051:
5050:
5022:
5011:
5010:
4986:
4975:
4974:
4948:
4937:
4936:
4912:
4906:
4900:
4877:Garrard, Mary D.
4860:
4835:
4826:
4819:
4804:
4803:
4786:Ettinger, Bracha
4782:
4776:
4775:
4758:Ettinger, Bracha
4754:
4748:
4747:
4711:
4702:
4701:
4677:
4654:
4653:
4617:
4608:
4607:
4583:
4577:
4576:
4568:
4562:
4561:
4536:
4530:
4529:
4527:
4526:
4511:
4505:
4498:
4489:
4488:
4462:
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4455:
4419:
4404:
4403:
4383:
4374:
4372:
4360:
4354:
4353:
4333:
4327:
4322:
4313:
4308:
4299:
4298:
4267:
4261:
4260:
4258:
4251:
4242:
4236:
4235:
4205:
4192:
4180:
4151:
4126:
4083:
4082:
4054:
4039:
4038:
4036:
4035:
4020:
4014:
3998:
3992:
3991:
3989:
3988:
3973:
3967:
3966:
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3885:
3879:
3872:
3866:
3865:
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3857:
3842:
3836:
3835:
3815:
3798:
3795:
3789:
3786:
3780:
3779:
3773:
3699:sexual selection
3630:From the moment
3539:Henry Scott Tuke
3495:the lesbian gaze
3467:Giuseppe Primoli
3331:heteropatriarchy
3325:(1916β1917), by
3284:Jay David Bolter
3242:iconographically
3221:Griselda Pollock
3064:the female ideal
2882:paintings about
2876:Renaissance nude
2761:object of beauty
2561:
2554:
2547:
2533:
2532:
2531:
2472:Feminist parties
2467:Muslim feminists
2462:Jewish feminists
2373:
2354:History of women
1977:Political theory
1745:
1675:
1648:
1641:Women-only space
1526:Likeability trap
1491:Invisible labour
1409:Female education
1223:Anti-pornography
1078:
1077:
1073:
789:Lesbian of color
772:
649:Women's suffrage
625:Muslim countries
620:Women's suffrage
537:Feminist history
530:
519:
496:
450:Jean-Paul Sartre
301:
294:
283:
276:
272:
269:
263:
260:inline citations
236:
235:
228:
221:
214:
210:
207:
201:
178:
177:
170:
163:
156:
152:
149:
143:
141:
100:
76:
68:
57:
35:
34:
27:
21:
5611:
5610:
5606:
5605:
5604:
5602:
5601:
5600:
5596:1975 neologisms
5581:Feminist theory
5566:
5565:
5564:
5559:
5506:
5456:
5420:
5417:
5359:
5334:
5329:
5326:
5324:Further reading
5321:
5320:
5302:
5301:
5297:
5267:
5266:
5262:
5241:And the Gaze".
5236:
5235:
5231:
5220:"The Savage Id"
5218:
5217:
5210:
5180:
5179:
5158:
5151:
5136:
5135:
5131:
5124:
5109:
5108:
5085:
5075:
5073:
5059:
5058:
5054:
5024:
5023:
5014:
5007:
4988:
4987:
4978:
4971:
4950:
4949:
4940:
4933:
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4913:
4909:
4897:
4867:
4857:
4837:
4836:
4829:
4820:
4807:
4800:
4784:
4783:
4779:
4772:
4756:
4755:
4751:
4713:
4712:
4705:
4690:10.2307/1394792
4682:Feminist Review
4679:
4678:
4657:
4634:10.2307/2928465
4622:Representations
4619:
4618:
4611:
4604:
4585:
4584:
4580:
4570:
4569:
4565:
4558:
4538:
4537:
4533:
4524:
4522:
4520:The Independent
4513:
4512:
4508:
4499:
4492:
4485:
4464:
4463:
4459:
4436:10.2307/1225639
4421:
4420:
4407:
4385:
4384:
4377:
4362:
4361:
4357:
4350:
4335:
4334:
4330:
4323:
4316:
4309:
4302:
4284:10.2307/2107492
4269:
4268:
4264:
4256:
4249:
4244:
4243:
4239:
4207:
4206:
4195:
4189:Wayback Machine
4177:
4157:
4128:
4127:
4086:
4071:10.2307/1358782
4056:
4055:
4042:
4033:
4031:
4022:
4021:
4017:
4013:, 9781444355000
3999:
3995:
3986:
3984:
3982:The Independent
3975:
3974:
3970:
3963:
3943:
3942:
3938:
3931:
3914:
3913:
3909:
3887:
3886:
3882:
3873:
3869:
3855:
3853:
3844:
3843:
3839:
3832:
3817:
3816:
3812:
3807:
3802:
3801:
3796:
3792:
3787:
3783:
3774:
3770:
3765:
3753:
3711:
3643:
3616:
3523:
3459:
3399:white supremacy
3353:
3347:
3258:Lorraine Gamman
3238:Sidelong Glance
3229:Robert Doisneau
3225:Sidelong Glance
3166:
3164:The female gaze
3138:maternal figure
3119:Jacques Lacan's
3107:the female gaze
3097:Bracha Ettinger
3093:
3088:
2997:
2951:
2927:objectification
2807:
2773:sexual fetishes
2714:
2658:
2653:
2593:female presence
2565:
2529:
2527:
2522:
2521:
2423:
2370:
2362:
2361:
2360:
2269:Northern Cyprus
2049:
2041:
2040:
2035:
1857:Science fiction
1808:
1787:Women's studies
1752:Feminist method
1742:
1732:
1731:
1726:
1672:
1664:
1663:
1662:
1646:
1556:Oedipus complex
1546:Men in feminism
1511:Language reform
1486:Ideal womanhood
1466:Gender equality
1461:Formal equality
1424:Feminationalism
1361:
1353:
1352:
1351:
1308:Post-structural
1207:
1197:
1196:
1195:
1104:
1094:
1093:
1092:
1075:
1072:Gender-critical
1071:
1070:
1021:Femonationalism
1005:
997:
996:
991:
970:Native American
910:
865:Critical theory
827:
769:
759:
758:
753:
708:Second Republic
636:
606:
573:
547:Women's history
527:
479:representations
446:
370:The concept of
328:feminist theory
309:
302:
291:
290:
289:
284:
273:
267:
264:
249:
237:
233:
222:
211:
205:
202:
194:help improve it
191:
179:
175:
164:
153:
147:
144:
101:
99:
89:
77:
36:
32:
23:
22:
15:
12:
11:
5:
5609:
5607:
5599:
5598:
5593:
5588:
5583:
5578:
5568:
5567:
5561:
5560:
5558:
5557:
5552:
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5550:
5545:
5540:
5533:
5528:
5523:
5517:
5515:
5508:
5507:
5505:
5504:
5503:
5502:
5497:
5487:
5482:
5477:
5472:
5470:Women's cinema
5466:
5464:
5458:
5457:
5455:
5454:
5449:
5444:
5439:
5434:
5432:Hawksian woman
5428:
5426:
5422:
5421:
5419:Women in media
5418:
5416:
5415:
5408:
5401:
5393:
5387:
5386:
5368:(1/2): 45β59.
5357:
5325:
5322:
5319:
5318:
5295:
5260:
5229:
5208:
5189:(4): 671β680.
5156:
5149:
5129:
5122:
5083:
5052:
5033:(2): 217β235.
5012:
5005:
4976:
4969:
4938:
4931:
4907:
4905:
4904:
4895:
4855:
4827:
4805:
4798:
4777:
4770:
4749:
4703:
4655:
4609:
4602:
4578:
4563:
4556:
4548:Ways of Seeing
4531:
4506:
4502:Ways of Seeing
4490:
4483:
4457:
4424:Cinema Journal
4405:
4394:(4): 884β905.
4375:
4355:
4348:
4328:
4314:
4300:
4262:
4247:A Female Gaze?
4237:
4218:(5): 123β143.
4193:
4175:
4084:
4040:
4015:
3993:
3968:
3961:
3936:
3929:
3907:
3880:
3867:
3837:
3830:
3809:
3808:
3806:
3803:
3800:
3799:
3790:
3781:
3767:
3766:
3764:
3761:
3760:
3759:
3752:
3749:
3748:
3747:
3742:
3737:
3732:
3730:Male supremacy
3727:
3722:
3717:
3710:
3707:
3620:Camille Paglia
3615:
3612:
3522:
3519:
3465:Photograph by
3458:
3455:
3451:white feminism
3447:women of color
3443:black feminism
3349:Main article:
3346:
3343:
3310:
3309:
3288:Richard Grusin
3280:
3279:
3271:Mary Ann Doane
3267:
3266:
3254:
3253:
3217:
3216:
3201:social capital
3171:
3170:
3165:
3162:
3134:feminine Other
3121:definition of
3102:matrixial gaze
3092:
3091:Matrixial gaze
3089:
3087:
3084:
2996:
2993:
2966:hypersexuality
2950:
2947:
2920:private sphere
2869:representation
2851:used the term
2844:Ways of Seeing
2806:
2803:
2799:male privilege
2788:said that the
2722:phallocentrism
2713:
2710:
2694:sexual fantasy
2686:human identity
2657:
2654:
2652:
2649:
2567:
2566:
2564:
2563:
2556:
2549:
2541:
2538:
2537:
2524:
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2497:
2496:
2495:
2494:
2489:
2484:
2479:
2474:
2469:
2464:
2459:
2454:
2452:Feminist poets
2449:
2444:
2439:
2434:
2429:
2422:
2421:
2419:Feminist songs
2416:
2415:
2414:
2409:
2399:
2398:
2397:
2395:by nationality
2387:
2381:
2378:
2377:
2371:
2368:
2367:
2364:
2363:
2359:
2358:
2357:
2356:
2346:
2344:United Kingdom
2341:
2336:
2331:
2326:
2321:
2316:
2311:
2306:
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2286:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
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2239:
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2229:
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2209:
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2194:
2189:
2184:
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2169:
2164:
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2144:
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2119:
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2109:
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2097:
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2077:
2072:
2067:
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2050:
2047:
2046:
2043:
2042:
2037:
2036:
2034:
2033:
2032:
2031:
2021:
2016:
2011:
2006:
2001:
1996:
1995:
1994:
1984:
1979:
1974:
1969:
1968:
1967:
1962:
1957:
1955:Existentialism
1952:
1951:
1950:
1948:Justice ethics
1940:
1935:
1930:
1920:
1915:
1910:
1909:
1908:
1906:Constructivism
1898:
1893:
1888:
1883:
1882:
1881:
1871:
1866:
1861:
1860:
1859:
1854:
1849:
1844:
1834:
1829:
1824:
1818:
1815:
1814:
1813:Areas of study
1810:
1809:
1807:
1806:
1799:
1794:
1789:
1784:
1779:
1774:
1769:
1764:
1759:
1757:Gender studies
1754:
1748:
1743:
1738:
1737:
1734:
1733:
1728:
1727:
1725:
1724:
1722:SCUM Manifesto
1719:
1714:
1709:
1704:
1699:
1694:
1689:
1684:
1678:
1673:
1670:
1669:
1666:
1665:
1661:
1660:
1655:
1653:Women's rights
1650:
1647:Women's health
1643:
1638:
1633:
1628:
1623:
1618:
1613:
1608:
1603:
1598:
1593:
1588:
1583:
1578:
1573:
1568:
1563:
1558:
1553:
1548:
1543:
1538:
1533:
1531:Male privilege
1528:
1523:
1518:
1513:
1508:
1500:International
1498:
1493:
1488:
1483:
1478:
1473:
1468:
1463:
1458:
1453:
1452:
1451:
1446:
1441:
1431:
1426:
1421:
1416:
1411:
1406:
1401:
1396:
1391:
1386:
1381:
1380:
1379:
1369:
1363:
1362:
1359:
1358:
1355:
1354:
1350:
1349:
1344:
1342:Technofeminism
1339:
1338:
1337:
1332:
1327:
1317:
1316:
1315:
1305:
1300:
1299:
1298:
1297:
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1271:
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1268:
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1164:
1159:
1154:
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1137:
1132:
1127:
1117:
1112:
1106:
1105:
1100:
1099:
1096:
1095:
1091:
1090:
1085:
1080:
1067:
1066:
1065:
1060:
1055:
1045:
1040:
1039:
1038:
1028:
1023:
1018:
1013:
1007:
1006:
1004:Other variants
1003:
1002:
999:
998:
993:
992:
990:
989:
984:
979:
974:
973:
972:
962:
961:
960:
950:
949:
948:
943:
938:
928:
922:
919:
918:
912:
911:
909:
908:
903:
902:
901:
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886:
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884:
874:
873:
872:
867:
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852:
851:
850:
839:
836:
835:
829:
828:
826:
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820:
819:
818:
808:
803:
802:
801:
796:
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775:
770:
765:
764:
761:
760:
755:
754:
752:
751:
750:
749:
739:
738:
737:
732:
730:Cayman Islands
725:United Kingdom
722:
717:
716:
715:
710:
702:
697:
692:
687:
682:
677:
672:
667:
662:
656:
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635:
634:
633:
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616:
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612:
608:
607:
605:
604:
599:
594:
589:
583:
580:
579:
575:
574:
572:
571:
570:
569:
564:
559:
554:
544:
539:
533:
528:
525:
524:
521:
520:
512:
511:
505:
504:
445:
442:
383:Ways of Seeing
360:sexual objects
307:
304:
303:
286:
285:
268:September 2024
240:
238:
231:
224:
223:
206:September 2024
182:
180:
173:
166:
165:
148:September 2024
80:
78:
71:
66:
40:
39:
37:
30:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5608:
5597:
5594:
5592:
5589:
5587:
5584:
5582:
5579:
5577:
5574:
5573:
5571:
5556:
5553:
5549:
5546:
5544:
5541:
5539:
5536:
5535:
5534:
5532:
5529:
5527:
5524:
5522:
5521:Art criticism
5519:
5518:
5516:
5513:
5509:
5501:
5498:
5496:
5493:
5492:
5491:
5488:
5486:
5483:
5481:
5478:
5476:
5473:
5471:
5468:
5467:
5465:
5463:
5462:Women in film
5459:
5453:
5450:
5448:
5445:
5443:
5440:
5438:
5435:
5433:
5430:
5429:
5427:
5423:
5414:
5409:
5407:
5402:
5400:
5395:
5394:
5391:
5383:
5379:
5375:
5371:
5367:
5363:
5358:
5354:
5350:
5346:
5342:
5341:
5333:
5328:
5327:
5323:
5314:
5310:
5306:
5299:
5296:
5291:
5287:
5283:
5279:
5275:
5271:
5264:
5261:
5256:
5252:
5248:
5244:
5240:
5233:
5230:
5225:
5221:
5215:
5213:
5209:
5204:
5200:
5196:
5192:
5188:
5184:
5177:
5175:
5173:
5171:
5169:
5167:
5165:
5163:
5161:
5157:
5152:
5150:9781405150309
5146:
5142:
5141:
5133:
5130:
5125:
5123:9780415267052
5119:
5115:
5114:
5106:
5104:
5102:
5100:
5098:
5096:
5094:
5092:
5090:
5088:
5084:
5071:
5067:
5063:
5056:
5053:
5048:
5044:
5040:
5036:
5032:
5028:
5021:
5019:
5017:
5013:
5008:
5006:9780262024525
5002:
4998:
4994:
4993:
4985:
4983:
4981:
4977:
4972:
4966:
4962:
4958:
4954:
4947:
4945:
4943:
4939:
4934:
4932:9780941104425
4928:
4924:
4920:
4919:
4911:
4908:
4903:
4898:
4896:9780064302074
4892:
4888:
4884:
4883:
4878:
4874:
4873:Broude, Norma
4870:
4865:
4862:
4861:
4858:
4856:9780415007214
4852:
4848:
4844:
4840:
4834:
4832:
4828:
4824:
4818:
4816:
4814:
4812:
4810:
4806:
4801:
4799:9780262540810
4795:
4791:
4787:
4781:
4778:
4773:
4771:9780952489900
4767:
4763:
4759:
4753:
4750:
4745:
4741:
4737:
4733:
4729:
4725:
4721:
4717:
4710:
4708:
4704:
4699:
4695:
4691:
4687:
4684:(15): 62β75.
4683:
4676:
4674:
4672:
4670:
4668:
4666:
4664:
4662:
4660:
4656:
4651:
4647:
4643:
4639:
4635:
4631:
4628:(25): 30β41.
4627:
4623:
4616:
4614:
4610:
4605:
4603:9780198742715
4599:
4595:
4591:
4590:
4582:
4579:
4574:
4567:
4564:
4559:
4557:9780563122449
4553:
4549:
4545:
4541:
4535:
4532:
4521:
4517:
4510:
4507:
4504:(1972) p. 50.
4503:
4500:Berger, John
4497:
4495:
4491:
4486:
4480:
4476:
4472:
4468:
4461:
4458:
4453:
4449:
4445:
4441:
4437:
4433:
4429:
4425:
4418:
4416:
4414:
4412:
4410:
4406:
4401:
4397:
4393:
4389:
4382:
4380:
4376:
4370:
4366:
4359:
4356:
4351:
4349:9781452265469
4345:
4341:
4340:
4332:
4329:
4326:
4321:
4319:
4315:
4312:
4307:
4305:
4301:
4297:
4293:
4289:
4285:
4281:
4277:
4273:
4266:
4263:
4255:
4248:
4241:
4238:
4233:
4229:
4225:
4221:
4217:
4213:
4212:
4204:
4202:
4200:
4198:
4194:
4191:
4190:
4186:
4183:
4178:
4176:9780230576469
4172:
4168:
4164:
4163:Mulvey, Laura
4160:
4159:Mulvey, Laura
4155:
4149:
4145:
4141:
4137:
4136:
4131:
4130:Mulvey, Laura
4125:
4123:
4121:
4119:
4117:
4115:
4113:
4111:
4109:
4107:
4105:
4103:
4101:
4099:
4097:
4095:
4093:
4091:
4089:
4085:
4080:
4076:
4072:
4068:
4064:
4060:
4053:
4051:
4049:
4047:
4045:
4041:
4029:
4025:
4019:
4016:
4012:
4008:
4004:
4003:
3997:
3994:
3983:
3979:
3972:
3969:
3964:
3962:9780520089778
3958:
3954:
3950:
3946:
3940:
3937:
3932:
3930:9780271043968
3926:
3922:
3918:
3911:
3908:
3903:
3899:
3895:
3891:
3884:
3881:
3877:
3871:
3868:
3864:
3863:appreciation.
3852:. Winter 2012
3851:
3847:
3841:
3838:
3833:
3827:
3823:
3822:
3814:
3811:
3804:
3794:
3791:
3785:
3782:
3778:
3772:
3769:
3762:
3758:
3755:
3754:
3750:
3746:
3743:
3741:
3738:
3736:
3735:Screen theory
3733:
3731:
3728:
3726:
3723:
3721:
3720:Imperial gaze
3718:
3716:
3715:Androcentrism
3713:
3712:
3708:
3706:
3704:
3700:
3695:
3691:
3689:
3683:
3680:
3678:
3677:
3672:
3668:
3667:
3662:
3657:
3654:
3653:
3648:
3641:
3640:the male gaze
3637:
3633:
3627:
3625:
3621:
3613:
3611:
3609:
3605:
3601:
3597:
3593:
3592:
3587:
3586:good-and-evil
3582:
3579:
3574:
3570:
3564:
3561:
3556:
3555:homoeroticism
3552:
3548:
3547:the male gaze
3540:
3536:
3532:
3527:
3520:
3518:
3516:
3515:fetishization
3512:
3511:Platonic love
3508:
3504:
3500:
3496:
3492:
3488:
3484:
3480:
3476:
3468:
3463:
3456:
3454:
3452:
3448:
3444:
3439:
3437:
3433:
3428:
3423:
3421:
3416:
3415:working-class
3412:
3407:
3404:
3400:
3394:
3392:
3388:
3384:
3380:
3376:
3375:
3370:
3362:
3357:
3352:
3344:
3342:
3339:
3334:
3332:
3328:
3324:
3319:
3315:
3307:
3306:
3305:
3302:
3298:
3293:
3292:the male gaze
3289:
3285:
3277:
3276:
3275:
3272:
3264:
3263:
3262:
3259:
3251:
3250:
3249:
3247:
3243:
3239:
3234:
3230:
3226:
3222:
3214:
3213:
3212:
3209:
3204:
3202:
3198:
3197:exhibitionist
3193:
3189:
3185:
3181:
3177:
3168:
3167:
3163:
3161:
3158:
3154:
3150:
3146:
3141:
3139:
3135:
3130:
3128:
3124:
3120:
3116:
3112:
3111:the male gaze
3108:
3104:
3103:
3099:proposed the
3098:
3090:
3085:
3083:
3081:
3076:
3072:
3067:
3065:
3060:
3056:
3055:social graces
3052:
3047:
3044:
3038:
3036:
3032:
3031:phallocentric
3028:
3024:
3023:mental health
3020:
3012:
3008:
3007:
3001:
2994:
2992:
2989:
2987:
2983:
2979:
2973:
2969:
2967:
2963:
2959:
2958:
2948:
2946:
2944:
2940:
2936:
2932:
2928:
2923:
2922:of her life.
2921:
2917:
2916:
2911:
2907:
2903:
2899:
2898:
2893:
2889:
2885:
2881:
2877:
2872:
2870:
2866:
2862:
2858:
2854:
2853:the male gaze
2850:
2846:
2845:
2837:as an object.
2836:
2832:
2831:
2825:
2818:
2817:
2811:
2804:
2802:
2800:
2795:
2791:
2787:
2781:
2778:
2774:
2770:
2766:
2762:
2757:
2755:
2751:
2746:
2742:
2738:
2734:
2729:
2727:
2723:
2720:. Concerning
2719:
2712:Spectatorship
2711:
2706:
2701:
2697:
2695:
2691:
2687:
2683:
2679:
2675:
2671:
2667:
2663:
2655:
2650:
2648:
2646:
2645:sexual equals
2642:
2638:
2634:
2629:
2627:
2623:
2618:
2613:
2610:
2609:fetishization
2606:
2605:
2598:
2594:
2590:
2586:
2582:
2578:
2574:
2573:media studies
2562:
2557:
2555:
2550:
2548:
2543:
2542:
2540:
2539:
2536:
2526:
2525:
2514:
2511:
2509:
2506:
2505:
2504:
2503:
2498:
2493:
2490:
2488:
2485:
2483:
2480:
2478:
2475:
2473:
2470:
2468:
2465:
2463:
2460:
2458:
2455:
2453:
2450:
2448:
2445:
2443:
2440:
2438:
2435:
2433:
2430:
2428:
2425:
2424:
2420:
2417:
2413:
2410:
2408:
2405:
2404:
2403:
2400:
2396:
2393:
2392:
2391:
2388:
2386:
2383:
2382:
2380:
2379:
2374:
2366:
2365:
2355:
2352:
2351:
2350:
2349:United States
2347:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2317:
2315:
2312:
2310:
2307:
2305:
2302:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2265:
2262:
2260:
2257:
2255:
2252:
2250:
2247:
2245:
2242:
2238:
2235:
2233:
2230:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2210:
2208:
2205:
2203:
2200:
2199:
2198:
2197:Latin America
2195:
2193:
2190:
2188:
2185:
2183:
2180:
2178:
2175:
2173:
2170:
2168:
2165:
2163:
2160:
2158:
2155:
2153:
2150:
2148:
2145:
2143:
2140:
2138:
2135:
2133:
2130:
2128:
2125:
2123:
2120:
2118:
2115:
2113:
2110:
2108:
2105:
2103:
2100:
2096:
2093:
2091:
2088:
2086:
2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2057:
2056:
2053:
2052:
2045:
2044:
2030:
2027:
2026:
2025:
2022:
2020:
2019:Technoscience
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2000:
1997:
1993:
1990:
1989:
1988:
1985:
1983:
1980:
1978:
1975:
1973:
1970:
1966:
1963:
1961:
1958:
1956:
1953:
1949:
1946:
1945:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1925:
1924:
1921:
1919:
1916:
1914:
1911:
1907:
1904:
1903:
1902:
1899:
1897:
1894:
1892:
1889:
1887:
1884:
1880:
1877:
1876:
1875:
1872:
1870:
1867:
1865:
1862:
1858:
1855:
1853:
1850:
1848:
1845:
1843:
1842:Art criticism
1840:
1839:
1838:
1835:
1833:
1830:
1828:
1825:
1823:
1820:
1819:
1817:
1816:
1811:
1805:
1804:
1800:
1798:
1795:
1793:
1792:Men's studies
1790:
1788:
1785:
1783:
1780:
1778:
1775:
1773:
1770:
1768:
1765:
1763:
1760:
1758:
1755:
1753:
1750:
1749:
1747:
1746:
1741:
1736:
1735:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1693:
1692:Views on BDSM
1690:
1688:
1685:
1683:
1680:
1679:
1677:
1676:
1668:
1667:
1659:
1656:
1654:
1651:
1649:
1644:
1642:
1639:
1637:
1634:
1632:
1629:
1627:
1624:
1622:
1619:
1617:
1616:Transmisogyny
1614:
1612:
1609:
1607:
1604:
1602:
1599:
1597:
1594:
1592:
1589:
1587:
1584:
1582:
1579:
1577:
1576:Purplewashing
1574:
1572:
1571:Protofeminism
1569:
1567:
1564:
1562:
1559:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1539:
1537:
1534:
1532:
1529:
1527:
1524:
1522:
1519:
1517:
1514:
1512:
1509:
1507:
1503:
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1481:Honor killing
1479:
1477:
1474:
1472:
1469:
1467:
1464:
1462:
1459:
1457:
1454:
1450:
1447:
1445:
1442:
1440:
1437:
1436:
1435:
1432:
1430:
1427:
1425:
1422:
1420:
1417:
1415:
1412:
1410:
1407:
1405:
1402:
1400:
1397:
1395:
1392:
1390:
1387:
1385:
1382:
1378:
1375:
1374:
1373:
1370:
1368:
1365:
1364:
1357:
1356:
1348:
1345:
1343:
1340:
1336:
1333:
1331:
1328:
1326:
1323:
1322:
1321:
1318:
1314:
1311:
1310:
1309:
1306:
1304:
1301:
1295:
1292:
1291:
1290:
1287:
1285:
1282:
1280:
1277:
1276:
1275:
1272:
1266:
1263:
1262:
1261:
1258:
1257:
1256:
1255:Individualist
1253:
1251:
1248:
1246:
1243:
1239:
1236:
1234:
1231:
1230:
1229:
1228:Cyberfeminism
1226:
1224:
1221:
1219:
1216:
1214:
1211:
1210:
1206:
1201:
1200:
1192:
1189:
1185:
1182:
1181:
1180:
1177:
1175:
1172:
1170:
1167:
1163:
1160:
1158:
1155:
1153:
1150:
1149:
1148:
1145:
1141:
1138:
1136:
1133:
1131:
1128:
1126:
1123:
1122:
1121:
1118:
1116:
1113:
1111:
1108:
1107:
1103:
1098:
1097:
1089:
1086:
1084:
1081:
1079:
1068:
1064:
1061:
1059:
1056:
1054:
1051:
1050:
1049:
1046:
1044:
1041:
1037:
1034:
1033:
1032:
1029:
1027:
1024:
1022:
1019:
1017:
1014:
1012:
1011:Anti-abortion
1009:
1008:
1001:
1000:
988:
985:
983:
980:
978:
975:
971:
968:
967:
966:
963:
959:
956:
955:
954:
951:
947:
944:
942:
939:
937:
934:
933:
932:
929:
927:
924:
923:
921:
920:
917:
916:Multicultural
913:
907:
904:
900:
899:Transnational
897:
895:
892:
891:
890:
887:
883:
880:
879:
878:
875:
871:
868:
866:
863:
862:
861:
858:
856:
853:
849:
846:
845:
844:
841:
840:
838:
837:
834:
830:
824:
821:
817:
816:Postgenderism
814:
813:
812:
811:Transfeminism
809:
807:
804:
800:
797:
795:
792:
790:
787:
786:
785:
782:
780:
777:
776:
774:
773:
768:
763:
762:
748:
745:
744:
743:
742:United States
740:
736:
733:
731:
728:
727:
726:
723:
721:
718:
714:
711:
709:
706:
705:
703:
701:
698:
696:
695:Liechtenstein
693:
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420:
416:
415:Jacques Lacan
412:
411:Sigmund Freud
407:
405:
399:
397:
396:the male gaze
393:
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241:This article
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183:This article
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109: β
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103:Find sources:
97:
93:
87:
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81:This article
79:
75:
70:
69:
64:
62:
55:
54:
49:
48:
43:
38:
29:
28:
19:
18:The male gaze
5548:Bechdel test
5537:
5512:Feminist art
5500:Scream queen
5480:Woman's film
5365:
5361:
5344:
5340:Porn Studies
5338:
5307:. Elsevier.
5304:
5298:
5273:
5269:
5263:
5246:
5242:
5238:
5232:
5223:
5186:
5182:
5139:
5132:
5112:
5074:. Retrieved
5065:
5055:
5030:
5027:NWSA Journal
5026:
4991:
4952:
4917:
4910:
4881:
4863:
4846:
4822:
4789:
4780:
4761:
4752:
4722:(1): 16β21.
4719:
4715:
4681:
4625:
4621:
4588:
4581:
4572:
4566:
4547:
4544:Berger, John
4540:Berger, John
4534:
4523:. Retrieved
4519:
4509:
4501:
4474:
4460:
4427:
4423:
4391:
4387:
4358:
4338:
4331:
4295:
4275:
4271:
4265:
4240:
4215:
4209:
4166:
4153:
4152:
4139:
4133:
4065:(2): 15β23.
4062:
4058:
4032:. Retrieved
4030:. 2016-09-22
4027:
4018:
4001:
3996:
3985:. Retrieved
3981:
3971:
3948:
3939:
3916:
3910:
3893:
3889:
3883:
3875:
3870:
3861:
3854:. Retrieved
3849:
3840:
3820:
3813:
3793:
3784:
3771:
3725:Male as norm
3696:
3692:
3684:
3681:
3674:
3664:
3659:
3650:
3639:
3629:
3624:objectifying
3617:
3606:includes an
3603:
3589:
3583:
3565:
3546:
3544:
3534:
3530:
3502:
3494:
3486:
3472:
3440:
3424:
3420:intellectual
3410:
3408:
3402:
3395:
3387:mirror stage
3372:
3366:
3335:
3322:
3317:
3311:
3297:hypermediacy
3296:
3291:
3281:
3278:Hypermediacy
3268:
3255:
3245:
3237:
3224:
3218:
3207:
3205:
3192:sexist norms
3172:
3152:
3148:
3144:
3142:
3133:
3131:
3126:
3122:
3114:
3110:
3106:
3100:
3094:
3070:
3068:
3063:
3048:
3039:
3034:
3026:
3018:
3016:
3005:
2990:
2978:intersection
2974:
2970:
2957:femme fatale
2955:
2952:
2942:
2924:
2914:
2901:
2896:
2891:
2873:
2864:
2860:
2852:
2842:
2840:
2829:
2815:
2794:emasculation
2782:
2758:
2740:
2736:
2732:
2730:
2725:
2715:
2682:human agency
2677:
2670:narcissistic
2661:
2659:
2633:value system
2630:
2622:gender roles
2614:
2608:
2601:
2592:
2570:
2299:Saudi Arabia
2095:South Africa
1938:Epistemology
1913:Legal theory
1832:Architecture
1822:Anthropology
1801:
1776:
1767:Gynocentrism
1631:War on women
1566:Pro-feminism
1521:Gender-blind
1471:Gender quota
1444:Art movement
1218:Anti-fascist
1152:Dianic Wicca
1031:Postfeminism
906:Xenofeminism
889:Postcolonial
806:Sex-positive
468:
457:
447:
433:
431:
427:scoptophilia
426:
422:
408:
400:
395:
391:
388:Laura Mulvey
381:
371:
369:
352:heterosexual
331:
325:
320:FΓ©lix Trutat
315:
292:
274:
265:
242:
212:
203:
184:
154:
145:
135:
128:
121:
114:
102:
90:Please help
85:verification
82:
58:
51:
45:
44:Please help
41:
5591:Film theory
5543:Female gaze
5526:Film theory
5475:Chick flick
5276:(1): 1β17.
4430:(2): 3β17.
4142:(3): 6β18.
3703:mate choice
3661:Nina Menkes
3604:Point Break
3596:protagonist
3591:Point Break
3573:action film
3432:colonialism
3327:Georg Grosz
3227:(1948), by
3145:mutual gaze
3080:self-hatred
3035:female gaze
2906:female-gaze
2849:John Berger
2786:Wendy Arons
2777:pornography
2750:protagonist
2656:Scopophilia
2637:advertising
2626:female gaze
2597:unconscious
2304:South Korea
2284:Philippines
2264:New Zealand
2259:Netherlands
1982:Pornography
1960:Metaphysics
1874:Criminology
1852:Film theory
1827:Archaeology
1506:Women's Day
1303:Libertarian
1245:Ecofeminism
1162:Ecofeminist
1043:Reactionary
1036:Neofeminism
977:Multiracial
882:Ecofeminist
877:Materialist
720:Switzerland
700:New Zealand
464:objectified
438:female gaze
423:scopophilia
419:scopophilia
404:black women
378:John Berger
344:visual arts
107:"Male gaze"
5570:Categories
5495:Final girl
5442:Jouissance
4525:2021-05-24
4278:(3): 359.
4034:2021-03-03
4011:1444355007
3987:2021-05-24
3805:References
3740:White gaze
3649:. was an
3608:attractive
3600:antagonist
3578:buddy film
3403:difference
3374:difference
3369:bell hooks
3361:bell hooks
3188:conforming
3153:difference
3105:, wherein
3075:body shame
3027:to perform
2982:misogynoir
2902:looking at
2880:Tintoretto
2690:sex appeal
2617:sight-line
2602:voyeurism-
2585:narcissism
2500:Categories
2402:Literature
2112:Bangladesh
1987:Psychology
1933:Empiricism
1928:Aesthetics
1923:Philosophy
1797:Patriarchy
1782:Matriarchy
1502:Girl's Day
1476:Girl power
1449:In hip hop
1372:Literature
1335:Separatist
1313:Postmodern
1279:Difference
1213:Analytical
1157:Reclaiming
965:Indigenous
870:Standpoint
799:Separatist
651:by country
483:patriarchy
444:Background
356:represents
348:literature
318:(1844) by
252:improve it
118:newspapers
47:improve it
5538:Male gaze
5437:Seriality
5374:0732-1562
5195:0340-2827
5066:The Hindu
5039:1040-0656
4744:144979328
4736:0361-6843
4642:0734-6018
4444:0009-7101
4232:144070861
3777:le regard
3636:Hitchcock
3614:Criticism
3581:the job.
3436:migration
3391:ego ideal
3233:bourgeois
3143:That the
2865:looked at
2765:sexuality
2741:looked-at
2705:pew group
2678:male gaze
2674:ego ideal
2666:voyeurism
2662:male gaze
2581:voyeurism
2390:Feminists
2202:Argentina
2162:Indonesia
2152:Hong Kong
2107:Australia
2014:Sociology
1896:Geography
1886:Economics
1777:Male gaze
1772:Kyriarchy
1238:Networked
1120:Christian
855:Jineology
843:Anarchist
833:Socialist
713:Francoist
665:Australia
611:Timelines
358:women as
332:male gaze
256:verifying
53:talk page
5382:40004636
5290:31851870
5203:41157425
5076:30 March
5070:Archived
4879:(eds.),
4760:(1995).
4369:Archived
4254:Archived
4185:Archived
4028:Repeller
3709:See also
3656:culture.
3652:a priori
3632:feminism
3560:othering
3535:gazed at
3503:the look
3487:the gaze
3475:paradigm
3318:the gaze
3208:the gaze
3155:between
3149:the gaze
3123:the gaze
3059:postural
3009:(1610),
2943:the gaze
2888:adultery
2707:, 1740s)
2651:Concepts
2385:Articles
2324:Thailand
2279:Pakistan
2249:Malaysia
2232:Paraguay
2222:Honduras
2070:Ethiopia
2024:Theology
2009:Sexology
2004:Sex wars
1918:Pedagogy
1671:Outlooks
1551:Misogyny
1419:Femicide
1404:Equality
1360:Concepts
1325:Cultural
1284:Equality
1265:Stiletto
1260:Lipstick
1184:Orthodox
1147:Neopagan
1135:Womanist
1115:Buddhist
1063:Embedded
1058:Imperial
1053:Carceral
1026:Maternal
987:Womanism
675:Colombia
562:Canadian
552:American
509:Feminism
501:a series
499:Part of
454:the gaze
434:the gaze
392:the gaze
373:the gaze
338:and the
5047:4316018
4887:245β267
4845:(ed.),
4698:1394792
4650:2928465
4546:(ed.),
4452:1225639
4292:2107492
4165:(ed.).
4079:1358782
3751:In film
3491:lesbian
3489:of the
3483:queered
3301:deviant
3127:subject
2861:look at
2737:looking
2641:fashion
2339:Ukraine
2334:Vietnam
2244:Lebanon
2142:Germany
2132:Finland
2127:Denmark
2102:Albania
2090:Senegal
2085:Nigeria
1992:Therapy
1965:science
1864:Biology
1320:Radical
1274:Liberal
1250:Eugenic
1174:Islamic
1110:Atheist
958:Lesbian
953:Chicana
946:Ratchet
941:Lesbian
936:Hip hop
860:Marxist
784:Lesbian
660:Austria
557:British
526:History
346:and in
342:in the
250:Please
192:Please
132:scholar
5514:theory
5490:Horror
5425:Tropes
5380:
5372:
5288:
5201:
5193:
5147:
5120:
5045:
5037:
5003:
4967:
4929:
4893:
4853:
4796:
4768:
4742:
4734:
4696:
4648:
4640:
4600:
4554:
4481:
4450:
4442:
4346:
4290:
4230:
4173:
4135:Screen
4077:
4009:
3959:
3927:
3856:13 May
3828:
3383:racism
3314:Medusa
2769:sexual
2604:sadism
2329:Turkey
2319:Taiwan
2309:Sweden
2294:Russia
2289:Poland
2274:Norway
2227:Mexico
2207:Brazil
2182:Israel
2147:Greece
2137:France
2117:Canada
2055:Africa
1943:Ethics
1740:Theory
1581:Racism
1289:Social
1179:Jewish
1125:Mormon
1083:Victim
1016:Equity
982:Romani
894:Global
747:states
704:Spain
690:Kuwait
670:Canada
602:Fourth
592:Second
567:German
330:, the
134:
127:
120:
113:
105:
5378:JSTOR
5335:(PDF)
5249:(2).
5224:Salon
5199:JSTOR
5043:JSTOR
4997:64β87
4740:S2CID
4694:JSTOR
4646:JSTOR
4469:. In
4448:JSTOR
4288:JSTOR
4257:(PDF)
4250:(PDF)
4228:S2CID
4075:JSTOR
3763:Notes
3411:Women
3246:being
3206:That
3180:power
3043:class
2726:looks
2376:Lists
2314:Syria
2254:Nepal
2217:Haiti
2212:Chile
2192:Japan
2187:Italy
2157:India
2122:China
2075:Ghana
2065:Egypt
1541:Media
1294:Labor
1169:Hindu
1140:Asian
1088:White
1048:State
931:Black
848:Queer
735:Wales
685:Japan
680:India
597:Third
587:First
578:Waves
340:world
336:women
139:JSTOR
125:books
5370:ISSN
5286:PMID
5191:ISSN
5145:ISBN
5118:ISBN
5078:2017
5035:ISSN
5001:ISBN
4965:ISBN
4927:ISBN
4902:Pdf.
4891:ISBN
4851:ISBN
4794:ISBN
4766:ISBN
4732:ISSN
4638:ISSN
4598:ISBN
4552:ISBN
4479:ISBN
4440:ISSN
4344:ISBN
4171:ISBN
4007:ISBN
3957:ISBN
3925:ISBN
3858:2015
3826:ISBN
3701:and
3434:and
3286:and
3109:and
2935:self
2835:Self
2754:plot
2733:look
2684:and
2607:and
2575:and
2172:Iraq
2167:Iran
2080:Mali
1891:FDPA
1504:and
1191:Sikh
425:and
413:and
364:male
111:news
5349:doi
5309:doi
5278:doi
5251:doi
4957:doi
4724:doi
4686:doi
4630:doi
4432:doi
4396:doi
4280:doi
4220:doi
4144:doi
4067:doi
3921:126
3898:doi
3190:to
3069:In
3017:In
1837:Art
1233:HCI
1130:New
1074:or
779:Fat
380:in
326:In
254:by
94:by
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