[8] For Mulvey, there are two ways in which women, as the passive recipients of the male gaze, can be sexualized to avert castration fear: voyeurism-sadism and fetishization. { bidder: 'triplelift', params: { inventoryCode: 'Cambridge_MidArticle' }}, { bidder: 'sovrn', params: { tagid: '346688' }}, var pbTabletSlots = [ [18] Kaplan states 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," though she also theorizes that the mutual gaze which neither seeks subordination or domination of the looker or the looked-at originates in the mother-child relationship. female victimization, and then came this theory -- the "victim" model of partner: "uarus31" { bidder: 'appnexus', params: { placementId: '11654156' }}, [33] In the course of being interviewed by hooks, a working-class Black woman said that "to see black women in the position [that] white women have occupied in film forever . Crea gratuitamente elenchi di parole e test, Chiare spiegazioni della lingua inglese reale scritta e parlata. cmpApi: 'iab', [29] Doane also deepened the understanding of the voyeuristic or fetishistic gazes to imply a "pleasurable transgression" of looking which greatly depends on the spatial proximity of the spectator to the spectated. name: "identityLink", { bidder: 'onemobile', params: { dcn: '8a969411017171829a5c82bb4deb000b', pos: '8a9699e70178783c43f941643ca4022f' }}, pbjsCfg.consentManagement = { { bidder: 'ix', params: { siteId: '195466', size: [728, 90] }}, 'min': 8.50, Fai clic sulle frecce per modificare il verso della traduzione. priceGranularity: customGranularity, [36] This genre is usually complemented by a marginal female character who serves no other plot purpose besides to affirm heterosexuality. Il presente articolo ruota attorno al concetto di oggettivazione del corpo femminile, alla cui base vi è l’azione che la cultura, la società e i meccanismi di comunicazione attuali come pubblicità, pornografia e le immagini, in generale, che sviliscono il genere femminile, attuano principalmente sulla sessualità. bids: [{ bidder: 'rubicon', params: { accountId: '17282', siteId: '162036', zoneId: '776130', position: 'btf' }}, if(!isPlusPopupShown()) { bidder: 'ix', params: { siteId: '195464', size: [160, 600] }}, [8]:815, The male gaze is conceptually contrasted with the female gaze.[9][10]. 0 && stateHdr.searchDesk ? "authorization": "https://dictionary.cambridge.org/it/auth/info?rid=READER_ID&url=CANONICAL_URL&ref=DOCUMENT_REFERRER&type=&v1=&v2=&v3=&v4=english&_=RANDOM", bids: [{ bidder: 'rubicon', params: { accountId: '17282', siteId: '162050', zoneId: '776358', position: 'atf' }}, [9] The male gaze is a manifestation of unequal social power, between the gazing man and the gazed-upon woman; and also is a conscious or subconscious social effort to develop gender inequality in service to a patriarchal sexual order. bids: [{ bidder: 'rubicon', params: { accountId: '17282', siteId: '162036', zoneId: '776156', position: 'atf' }}, if(window.isGDPRMode()){ [32] A crucial aspect of the male gaze appears to be its subdued, unquestioned existence, which the female gaze disrupts as women acknowledge themselves as the object and refuse to accept this position by returning an equally objectifying gaze. [18], In the television series and book Ways of Seeing (1972), the art critic John Berger addressed the sexual objectification of women in the arts by emphasizing that men look and women are looked-at as the subjects of art. 'max': 3, male gaze n. In the visual arts and advertising, the depiction of the world from the perspective of a heterosexual male, with the assumption that the audience also consists of heterosexual males, especially as manifested by depicting women as objects to be gazed upon. { bidder: 'triplelift', params: { inventoryCode: 'Cambridge_SR' }}, { bidder: 'sovrn', params: { tagid: '346698' }}, dfpSlots['rightslot'] = googletag.defineSlot('/23202586/cdo_rightslot', [[300, 250]], 'ad_rightslot').defineSizeMapping(mapping_rightslot).setTargeting('sri', '0').setTargeting('vp', 'mid').setTargeting('hp', 'right').addService(googletag.pubads()); } } [8] These concepts of voyeurism and narcissism translate to psychoanalytic concepts of object libido and ego libido, respectively. { bidder: 'triplelift', params: { inventoryCode: 'Cambridge_SR' }}, [8]:807 As a way of seeing women and the world, psychoanalytic theorizations of the male gaze involve Freudian and Lacanian concepts such as scopophilia, or the pleasure of looking. { bidder: 'ix', params: { siteId: '194852', size: [300, 250] }}, feminist ideology, asserting that history is nothing but male oppression and Another important part of Mulvey’s theory built upon a Freudian psychoanalytic concept of male castration anxiety, where because the woman is phallus lacking, her presence evokes unpleasantness in the male unconsciousness. { bidder: 'criteo', params: { networkId: 7100, publisherSubId: 'cdo_btmslot' }}, { bidder: 'ix', params: { siteId: '195451', size: [300, 50] }}, I've been very vocal 'min': 3.05, { bidder: 'ix', params: { siteId: '555365', size: [300, 250] }}, googletag.cmd = googletag.cmd || []; },{ name: "unifiedId", if(!isPlusPopupShown()) pbjsCfg = { The terms scopophilia and scoptophilia identify both the aesthetic pleasures and the sexual pleasures derived from looking at someone or something. if(pl_p) It was an a priori theory: First there was iasLog("criterion : cdo_dc = english"); [8]:14[9]:127, As an ideological basis of patriarchy, socio-political inequality is realised as a value system, by which male-created institutions (e.g the movie business, advertising, fashion) unilaterally determine what is "natural and normal" in society. pid: '94' 'min': 0, googletag.pubads().setTargeting("cdo_ei", "male-gaze"); "[27], In "Watching the Detectives: The Enigma of the Female Gaze" (1989), Lorraine Gamman said that the female gaze is distinguished from the male gaze through its displacement of the power of scopophilia, which creates the possibility of multiple viewing angles, because "the female gaze cohabits the space occupied by men, rather than being entirely divorced from it"; therefore, the female gaze does not appropriate the "voyeurism" of the male gaze, because its purpose is to disrupt the phallocentric power of the male gaze, by providing other modes of looking at someone. Quella dello "sguardo maschile" è una teoria femminista sviluppata da Laura Mulvey nel 1975. [8] In Mulvey’s analysis, voyeurism-sadism references that “pleasure lies in ascertaining guilt (immediately associated with castration), asserting control and subjecting the guilty person through punishment or forgiveness,” which is noted by Mulvey to align more with a narrative cinematic structure than does scopophilia fetishization. in surprise, admiration, or because you are thinking about something else: He spends hours gazing out … "From the moment feminism began to solidify its ideology in the early '70s, btScript.src = '//idmgroup-com.videoplayerhub.com/videoloader.js'; "sign-out": "https://dictionary.cambridge.org/it/auth/signout?rid=READER_ID" [18] From this perspective, cinematic female characters can take up the male gaze, subverting the male characters to a submissive, objectified position; but, Kaplan observes that in doing so the female character is likely to lose all of her traditionally feminine characteristics. },{ },{ Kaplan, E. (1983). if(window.isCCPAMode()) [36] Lastly, there is the good versus evil plot genre, where two men share an obsessive, borderline homoerotic, fixation with one another as they repeatedly seek each other out. { bidder: 'criteo', params: { networkId: 7100, publisherSubId: 'cdo_rightslot' }}, "She laughed." { bidder: 'appnexus', params: { placementId: '11653860' }}, [36] To demonstrate that the purpose of women on the screen is to validate heterosexuality, in a context where it is otherwise subverted by homoerotic images, Shuckmann introduces three plot contexts where the male gaze is crucial in de-eroticizing male character relationships on screen. googletag.pubads().setTargeting("cdo_tc", "resp"); Film and the Masquerade: Theorising the Female Spectator. { bidder: 'onemobile', params: { dcn: '8a9690ab01717182962182bb50ce0007', pos: '8a9694390178783c4ccf4164d12a0272' }}, 'max': 30, . [35], Some scholars have also hypothesized that cinematic male gaze acts as a "safety valve for homoerotic tensions," where these sexual tensions are projected onto female characters as a negation of male homoeroticism in popular genres like action movies or buddy comedies. googletag.pubads().disableInitialLoad(); { bidder: 'openx', params: { unit: '539971081', delDomain: 'idm-d.openx.net' }}, Pdf via Amherst College. 'max': 36, From what context did the male gaze emerge? }] bids: [{ bidder: 'rubicon', params: { accountId: '17282', siteId: '162036', zoneId: '776156', position: 'atf' }}, ga('set', 'dimension2', "entryex"); [35] Lefebvre states that "when the male gaze is affirming and one’s identity is validated, it may be a motivator to continue to conform to consistently be correctly gendered and avoid harm for not conforming". [16], Another scholar, Danielle Lefebvre, suggests that there is a degree of affirmation found in the everyday manifestation of the male gaze for trans women. { bidder: 'onemobile', params: { dcn: '8a969411017171829a5c82bb4deb000b', pos: '8a9694390178783c4ccf4165904d028a' }}, "authorizationFallbackResponse": { dfpSlots['houseslot_a'] = googletag.defineSlot('/2863368/houseslot', [300, 250], 'ad_houseslot_a').defineSizeMapping(mapping_houseslot_a).setTargeting('sri', '0').setTargeting('vp', 'mid').setTargeting('hp', 'right').setCategoryExclusion('house').addService(googletag.pubads()); { bidder: 'sovrn', params: { tagid: '346693' }}, { bidder: 'onemobile', params: { dcn: '8a969411017171829a5c82bb4deb000b', pos: '8a9699e70178783c43f941643ca4022f' }}, ga('send', 'pageview'); in a group of bees, a single large female that produces eggs. { bidder: 'openx', params: { unit: '539971066', delDomain: 'idm-d.openx.net' }}, bab.la non è responsabile per il loro contenuto. 'increment': 0.5, window.__tcfapi('removeEventListener', 2, function(success){ bids: [{ bidder: 'rubicon', params: { accountId: '17282', siteId: '162036', zoneId: '776160', position: 'atf' }}, Altri chevron_right. { bidder: 'ix', params: { siteId: '195467', size: [300, 50] }}, expires: 365 She is denied the picturing of her desire; what she looks at is blank for the spectator. pbjs.que = pbjs.que || []; Her mutilated body is a symbol of how men have been able to deal with women by relegating them to visual objectivity". } [7], The psychoanalytic theories of Sigmund Freud and Jacques Lacan are foundational in Mulvey’s development of a male gaze theory, as they provide a lens through which Mulvey was able to interpret the "primordial wish for pleasurable looking" satisfied through the cinematic experience. [29] In intentionally creating space between the subject (spectator) and the object (screen), the male gaze perpetuates an "infinite pursuit of an absent object". if(!isPlusPopupShown()) Such visualizations establish the roles of dominant-male and dominated-female, by representing the female as a passive object for the male gaze of the active viewer. The male gaze was first used to describe how the audience for a movie is required to observe from the perspective of a heterosexual male; in almost all movies woman exist for men to enjoy, and the message is you too could have this. },{ {code: 'ad_btmslot_a', pubstack: { adUnitName: 'cdo_btmslot', adUnitPath: '/23202586/cdo_btmslot' }, mediaTypes: { banner: { sizes: [[300, 250]] } }, [15], Two forms of the male gaze are based upon the Freudian concept of scopophilia, the "pleasure that is linked to sexual attraction (voyeurism in the extreme) and [the] scopophilic pleasure that is linked to narcissistic identification (the introjection of ideal egos)", which show how women have been forced to view the cinema from the perspectives (sexual, aesthetic, cultural) of the male gaze. The woman is speaking to her husband about a painting at which she is gazing, whilst her distracted husband is gazing at a painting of a nude woman, which also is in view of the spectator.
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