Relevant bibliographies by topics / Mulvey, Laura

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mulvey, Laura'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Mulvey, Laura"

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Sassatelli, Roberta. "Interview with Laura Mulvey." Theory, Culture & Society 28, no. 5 (September 2011): 123–43. http://dx.doi.org/10.1177/0263276411398278.

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Koepnick, Lutz. "Laura Mulvey the curious cinephile." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 441–45. http://dx.doi.org/10.1080/17400309.2017.1376886.

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Rosenblatt, Nina. ": Visual and Other Pleasures . Laura Mulvey." Film Quarterly 43, no. 4 (July 1990): 59–60. http://dx.doi.org/10.1525/fq.1990.43.4.04a00370.

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Skretting, Kathrine. "Laura Mulvey: Visual Pleasure and Narrative Cinema." Norsk medietidsskrift 4, no. 02 (October 1, 1997): 124–26. http://dx.doi.org/10.18261/issn0805-9535-1997-02-10.

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Kelly, Mary, and Laura Mulvey. "Mary Kelly and Laura Mulvey in Conversation." Afterimage 13, no. 8 (March 1, 1986): 6–8. http://dx.doi.org/10.1525/aft.1986.13.8.6a.

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Kelly, Mary, and Laura Mulvey. "Mary Kelly and Laura Mulvey in Conversation." Afterimage 13, no. 8 (March 1, 1986): 6–8. http://dx.doi.org/10.1525/aft.1986.13.8.6a.

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LOH, MARIA H. "Still Life: An Interview with Laura Mulvey." Art Book 14, no. 1 (February 2007): 65–66. http://dx.doi.org/10.1111/j.1467-8357.2007.00782.x.

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Rosenblatt, Nina. "Review: Visual and Other Pleasures by Laura Mulvey." Film Quarterly 43, no. 4 (1990): 59–60. http://dx.doi.org/10.2307/1212751.

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Guaraná, Bruno. "The Films of Laura Mulvey and Peter Wollen." Film Quarterly 76, no. 4 (2023): 93–100. http://dx.doi.org/10.1525/fq.2023.76.4.93.

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Parrondo Coppel, Eva, and Tecla González-Hortigüela. "Releyendo a Laura Mulvey 40 años después. Historiografía y feminismo / Re-reading Laura Mulvey 40 Years After. Historiography and Feminism." Secuencias 42, no. 2015 (2016): 53–72. http://dx.doi.org/10.15366/secuencias2016.42.003.

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Dissertations / Theses on the topic "Mulvey, Laura"

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Theus, Tyler A. "Hitchcock and the Material Politics of Looking: Laura Mulvey, Rear Window, and Psycho." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/communication_hontheses/3.

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In this essay, I argue that issues of voyeurism and scopophilia raised in Laura Mulvey’s early essay, “Visual Pleasure in Narrative Cinema,” are closely related to the social and economic shifts which occurred during the post-war period. Specifically, I argue that Mulvey’s essay articulates a particular kind of formal technique associated with what she calls “non-narrative scopophilia,” a kind of long-take shot that is utilized to great effect by Alfred Hitchcock in two of his later films, Rear Window (1955) and Psycho (1960). I argue that these shots represent a disruption to the smooth functioning of the classical Hollywood model of narrative and gender ideology in the post-war period tied closely to the changing economic realities of the period. I further argue that such a disruption is closely related to a new model of consumerism that emerges during this period.
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Lööf, Jenny. "An Inquisitive Gaze: Exploring the Male Gaze and the Portrayal of Gender in Dragon Age: Inquisition." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117976.

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This paper provides an account of how a normative male gaze is produced and upheld even in a video game famed for its inclusive nature, Dragon Age: Inquisition. The analysis originates in content studies concerning the portrayal of gender in video games in relation to in-game physical gender portrayal. It is followed by a contextualization of specific video sequences and certain game mechanics in relation to Laura Mulvey’s feminist film theory about the Male Gaze. Mulvey’s film theory approach, while useful as an intellectual tool, is not developed to be applied to video games and thus it is also necessary to consider any implications related to the interactivity of the game. As characters are subjected to a gendered male gaze in relation to both their physical appearance and attributes they are made to uphold the normative status quo. The Gaze is evident in how characters are portrayed, how the main character becomes a default male character regardless of actual gender and in the construction of women as something other. But most importantly, in the actual game mechanics through which all characters become objects for the player to use either in combat or to own in the guise of offering romance to the narrative.
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Lindquist, Viktoria, and Ida Cavallin. "And the Oscar goes to... : En feministisk filmanalys av de karaktärer som spelas av kvinnor som vunnit en Oscar för bästa kvinnliga huvudroll mellan åren 2010 - 2015." Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24657.

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Brandt, Zippy. "Flickigt och oseriöst eller sexistiskt? : En retorisk analys av Final Fantasy X-2." Thesis, Uppsala universitet, Avdelningen för retorik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-210664.

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Davis, Claudia M. "The Objectification of Women in Cane." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1386770950.

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Bailey, Dorie. "Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/743.

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In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike. However, as Hollywood’s shifting feminist landscape becomes increasingly prevalent in the mainstream media, content incorporating the oppositional “female gaze” have become the new norm in both the film and television mediums. Through an extended analysis of the gaze as socialized through gendered learning in children, the “safe space” afforded through the formulaic platform of “boy bands,” and the function of romantic comedies and the emerging feminist rhetoric prevalent in such films as “Magic Mike: XXL,” the conceptual “female gaze” is defined and explored through the demographic of young girls as they grow and push their understanding of desire, particularly as they develop into the mature, media-cosuming women that have become increasingly vocal in the Hollywood sphere.
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Rydqvist, Ryan Ebba. "Kvinnliga monster och abjekt femininitet : En semiotisk och psykoanalytisk studie av femininitet, feminism och monsterkroppen i tv-serien Penny Dreadful." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131165.

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Studien undersöker hur kvinnliga karaktärer representeras i relation till skräcktematiken i tv-serien Penny Dreadful (2014-). Syftet har varit att studera huruvida det som är typiska kännetecken för skräck kan kopplas till kvinnlighet, femininitet och feminism (det senare då man kan uppfatta ett genuskritiskt samtal i serien). Med hjälp av psykoanalytiska teorier kring abjektion visar analysen hur det som är skrämmande med kvinnor, är skrämmande på andra sätt än vad som är skrämmande med män. Det som är abjekt med kvinnan definieras ofta utifrån hennes sexualitet och biologiska egenskaper, och skapar därmed en feminin monstrositet och således är helt olik den manliga. Detta har till stor del växt fram genom historiska myter, religioner och konst, som har bidragit till könsspecifika monster utifrån stereotyp femininitet, så som häxor, sirener eller Medusa. Genom att utforska tv-seriens karaktärer med hjälp av semiotiska och psykoanalytiska verktyg avslöjas möjliga tolkningar som visar hur nämnda feminina monster tycks grunda sig i manlig rädsla och kvinnan som hot. Kastrationskomplexet som bidragande faktor och den manliga blicken tycks därför kväsa uttryck för kvinnlig frigörelse i serien, genom att sexualisera, plåga och göra kvinnan abjekt och monstruös i direkt genmäle till dessa. Serien tycks därför trots sin genuskritiska diskurs kontrolleras av en manlig blick och ett skoptofiliskt seende, något som möjligtvis bidrar till att kvinnlighet och femininitet kodas som abjekt, och i värsta fall stigmatiserar den feministiska kvinnan.

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Geimer, Alexander. "Cultural Studies und Geschlecht." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219545.

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In den Anfängen der Cultural Studies in der Birmingham School spielte Geschlecht eine eher untergeordnete Rolle. Bald wurden jedoch auch feministische Positionen herangezogen, um Ungleichheiten der Alltagspraxis zu erklären, die nicht klassentheoretisch zu fassen waren. In den Arbeiten von Rubin und Mulvey beispielsweise werden Geschlecht bzw. Geschlechtsunterscheidungen und -ungleichheiten durch makrosoziale Wissensstrukturen und kollektive Praktiken reproduziert.
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Tadic, Maria. "Nymphomaniac - porträttet av den skandinaviska nymfen? : En feministiskt driven närläsning." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-107083.

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Nymphomaniac represents yet another complex art-movie by director Lars von Trier. The reception amongst film critics is seemingly incoherent about whether the film reproduces misogynist values or if the film could be perceived as feminist.  This thesis aims to explore how Laura Mulvey’s theory of the male gaze still applies and provides tools for examination together with the intersectional approach, to decode and identify patriarchal conventions. As whiteness is inextricably linked to patriarchal structure it is discussed throughout this thesis and in a separate chapter. Hence this thesis suggests an intersectional feminist critical analysis to be the most adequate method to examine this movie and to fully comprehend how different elements of power coexist to suppress women and racialized people within the context of Nymphomaniac.  This thesis concludes that von Trier does not only embrace the male gaze, he also occasionally rejects it.
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Plumley, Bailey. "Self-Inclusion of the Queer Body in Barbara Hammer's 'Superdyke Meets Madame X' (1975)." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620157460893929.

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Books on the topic "Mulvey, Laura"

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Chaudhuri, Shohini. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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Harvard College Library. Dept. of Printing and Graphic Arts., ed. Why artists' books?: Siri Beckman, Meryl Brater, Brian D. Cohen, Deborah Davidson, Laura Davidson, Roberta Delaney, Jean Evans, Becky Hunt, Joyce McDaniel, Peter Maden, Maria Muller, Stephanie Stigliano. Cambridge, MA: Department of Printing and Graphic Arts, 1993.

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Laura Mulvey, Visual Pleasure and Narrative Cinema. GRIN Verlag GmbH, 2006.

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Laura Mulvey Visual Pleasure and Narrative Cinema. Grin Verlag, 2008.

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Rachel Rose : Laura Mulvey, Visual Pleasure and Narrative Cinema: 1975. Verlag der Buchhandlung Walther Konig, 2016.

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Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Bloomsbury Publishing Plc, 2022.

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Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Goldsmiths, University London, 2021.

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Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Bloomsbury Publishing Plc, 2022.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Book chapters on the topic "Mulvey, Laura"

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Galt, Rosalind. "Laura Mulvey (1941–)." In Fifty-One Key Feminist Thinkers, 171–75. Abingdon, Oxon; New York, NY : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315558806-34.

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Heath, Stephen, Colin MacCabe, and Denise Riley. "Laura Mulvey, Visual and Other Pleasures (1969)." In The Language, Discourse, Society Reader, 224–43. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230213340_15.

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Stefanovic, Patricia, and Ana Gruić Parać. "Male Gaze and Visual Pleasure in Laura Mulvey." In The Palgrave Handbook of Image Studies, 343–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71830-5_21.

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Johansson, Sofia. "Laura Mulvey (1975) ‘Visual Pleasure and Narrative Cinema’." In Classics in Media Theory, 196–210. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003432272-15.

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Hagener, Malte. "Neue Linke und Screen Theory (Stephen Heath, Laura Mulvey, Paul Willemen u. a.)." In Schlüsselwerke der Medienwissenschaft, 69–86. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29325-3_5.

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Sorfa, David. "Laura Mulvey." In Film, Theory and Philosophy The Key Thinkers, 286–95. McGill-Queen's University Press, 2009. http://dx.doi.org/10.1515/9780773594821-029.

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"Laura Mulvey/Peter Wollen." In Screen Writings, 94–114. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501155.8.

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"Laura Mulvey/Peter Wollen." In Screen Writings, 94–114. University of California Press, 1995. http://dx.doi.org/10.1525/9780520913110-006.

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Lamm, Kimberly. "Feminist desires and collective reading in the work of Laura Mulvey." In Addressing the other woman, 232–66. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121264.003.0007.

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Chapter 6 focuses on Laura Mulvey’s theoretical writings on film and her essay film Riddles of the Sphinx (1977), which it reads in relation to the feminist collaboration between Kelly and Mulvey that took place at the height of Women’s Liberation in Britain. Like Post-Partum Document, Riddles of the Sphinx creates a hieroglyphic aesthetic that mines the feminist possibilities of repressed maternal desires and draws out their connections to British colonial history. Replete with images of writing, the consistent attention to text in Riddles is the means by which Mulvey represents the pleasures of the maternal bond and transfers them into a form of fetishisation that opens onto collaborations between women that move across the lines of race and class. By placing the hieroglyph and the colonial extractions for which it figures in the context of women’s atomised struggles with reproductive labour in late capitalism, Riddles writes collective feminist reading practices that might allow women to correspond across the divisions created by colonial, racial, and class hierarchies and therefore create what Mulvey identifies in ‘Visual Pleasure and Narrative Cinema’ (1975), as a ‘new language of desire.’
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"Laura Mulvey (on Riddles of the Sphinx)." In A Critical Cinema 2, 333–44. University of California Press, 1992. http://dx.doi.org/10.1525/9780520912861-015.

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Conference papers on the topic "Mulvey, Laura"

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Kościelecka, Iwona. "Beyond the Gaze. Future of theories of perception and representation with regard to Laura Mulvey’s psychoanalysis of looking in the article Visual Pleasure and Narrative Cinema." In The International Conference on Future of Social Sciences. Acavent, 2019. http://dx.doi.org/10.33422/icfss.2019.04.211.

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DANIEL PAZINI PEZENTE and WILLIAM DE OLIVEIRA SANT ANA. "ANÁLISE ESTATÍSTICA MULTIVARIADA DA EVOLUÇÃO DA FERTILIDADE DE SOLOS CONSTRUÍDOS EM ÁREAS DE PASSIVO AMBIENTAL DA MINERAÇÃO DE CARVÃO, LAURO MULLER - SC." In V Congresso Brasileiro de Carvão Mineral. Porto Alegre, Brazil: Rede de Pesquisa, Desenvolvimento e Inovação do Carvão Mineral – Rede Carvão, 2017. http://dx.doi.org/10.20906/cps/cbcm2017-0052.

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You might also be interested in the extended bibliographies on the topic 'Mulvey, Laura' for particular source types:
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