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Journal articles on the topic 'Mulvey, Laura'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Staab, Laura. "Laura Mulvey, Afterimages: On Cinema, Women and Changing Times." Screen 62, no. 1 (March 1, 2021): 126–28. http://dx.doi.org/10.1093/screen/hjab014.

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12

Maluf, Sônia Weidner, Cecilia Antakly de Mello, and Vanessa Pedro. "Políticas do olhar: feminismo e cinema em Laura Mulvey." Revista Estudos Feministas 13, no. 2 (August 2005): 343–50. http://dx.doi.org/10.1590/s0104-026x2005000200007.

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13

Mulvey, Laura, and Catherine Elwes. "Laura Mulvey in conversation with Catherine Elwes: November 2015." Moving Image Review & Art Journal (MIRAJ) 4, no. 1 (December 1, 2015): 154–62. http://dx.doi.org/10.1386/miraj.4.1-2.154_7.

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14

Pinto-Coelho, Zara. "Imagens publicitárias: jogos do olhar, género e sexualidades." Comunicação e Sociedade 11 (June 20, 2007): 175–84. http://dx.doi.org/10.17231/comsoc.11(2007).1140.

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Os traços patriarcais que marcam o olhar na imagem cinematográfica têm sido amplamente discutidos desde o trabalho pioneiro de Laura Mulvey sobre o assunto (Mulvey, 1975/1989). O mesmo não acontece nas discussões sobre a imagem publicitária da mulher. Neste artigo defendo que a análise do olhar é fundamental para compreender o funcionamento persuasivo e a eficácia social deste tipo de imagem. Situando-me no quadro da semiótica visual social de Gunther Kress e Theo van Leeuwen (1997), faço uma análise de cinco imagens, centrando-me nas noções de género e de sexualidade que as construções visuais do olhar implicam e produzem. Sugiro que estas imagens criam oportunidades para o desejo e preferências sexuais que escapam à regra heterossexual dominante, e que jogam com as contradições e tensões presentes nas relações de género das sociedades ocidentais actuais.
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15

Holdsworth, Claire M. "Laura Mulvey (author), Peter Wollen (author), Oliver Fuke (editor), The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation." Journal of British Cinema and Television 21, no. 2 (April 2024): 270–77. http://dx.doi.org/10.3366/jbctv.2024.0717.

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16

Langga, Fathin Hanifah. "Female Gaze pada Film “Lady Bird”." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 5, no. 1 (June 22, 2020): 8. http://dx.doi.org/10.17977/um037v5i1p8-13.

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Film box office Lady Bird mendapatkan banyak penghargaan dan review positif dari para kritikus. Hal menarik yang dapat dibahas dari film Lady Bird adalah mengenai female gaze. Menganalisis dengan membandingkan teori Laura Mulvey mengenai female gaze dan male gaze melalui fenomena yang terdapat pada film Lady Bird yang menceritakan kehidupan seorang remaja perempuan pada umumnya. Image perempuan dalam film Lady Bird tidak tampak sebagai sebuah objek melainkan sebuah subjek, gaya pemeran perempaun dalam film Lady Bird tampil kuat, ambisius dan optimis. Lady Bird membuktikan bahwa teori Mulvey tentang dunia patriarkal tidak permanen dan tidak wajib.
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17

Langga, Fathin Hanifah. "Female Gaze pada Film “Lady Bird”." JADECS (Journal of Art, Design, Art Education and Culture Studies) 5, no. 1 (June 22, 2020): 8. http://dx.doi.org/10.17977/um034v5i1p8-13.

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Film box office Lady Bird mendapatkan banyak penghargaan dan review positif dari para kritikus. Hal menarik yang dapat dibahas dari film Lady Bird adalah mengenai female gaze. Menganalisis dengan membandingkan teori Laura Mulvey mengenai female gaze dan male gaze melalui fenomena yang terdapat pada film Lady Bird yang menceritakan kehidupan seorang remaja perempuan pada umumnya. Image perempuan dalam film Lady Bird tidak tampak sebagai sebuah objek melainkan sebuah subjek, gaya pemeran perempaun dalam film Lady Bird tampil kuat, ambisius dan optimis. Lady Bird membuktikan bahwa teori Mulvey tentang dunia patriarkal tidak permanen dan tidak wajib.
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18

Useros Rodríguez, Silvia. "El monstruo femenino y la violencia liberadora en A girl walks home alone at night de Ana Lily Amirpour=The female monster and the liberating violence in A girl walks home alone at night (2014), by Ana Lily Amirpour." Estudios Humanísticos. Filología, no. 43 (December 20, 2021): 107–22. http://dx.doi.org/10.18002/ehf.v0i43.7054.

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El objetivo de este texto es analizar el monstruo femenino en el film A Girl Walks Home Alone at Night (Una chica vuelve a casa sola de noche, 2014), de Ana Lily Amirpour, exponiendo el giro del arquetipo de la mujer vampiro, para tratar el tema de la violencia patriarcal y, mediante una serie de referencias críticas de la teoría del cine feminista, con figuras como Barbara Creed, Pilar Pedraza y Laura Mulvey, entre otras, entender las nuevas manifestaciones de lo femenino y lo monstruoso. The aim of this paper is to analyze the female monster in Ana Lily Amirpour’s film A Girl Walks Home Alone at Night (2014), exposing the reversal of the female vampire archetype to address the violence of patriarchy, and through a series of critical references from feminist cinema theory with figures such as Barbara Creed, Pilar Pedraza, and Laura Mulvey, among others, to understand the new trends of the feminine and monstrosity.
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19

Human, Suzanne, and Annie van den Oever. "Gestures of healing: Themed issue in honour of Laura Mulvey." de arte 50, no. 92 (January 2015): 6–9. http://dx.doi.org/10.1080/00043389.2015.11877219.

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20

White, Patricia. "Review: Afterimages: Women, Cinema and Changing Times, by Laura Mulvey." Film Quarterly 74, no. 2 (2020): 116–18. http://dx.doi.org/10.1525/fq.2020.74.2.116.

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21

Lima Souza, Mickaelle, and Pedro Faissol. "O RETORNO DO OLHAR EM RETRATO DE UMA JOVEM EM CHAMAS E A PERSPECTIVA TRANSFORMADORA DE CÉLINE SCIAMMA." Revista Cientí­fica/FAP 26, no. 1 (July 20, 2022): 388–413. http://dx.doi.org/10.33871/19805071.2022.26.1.4592.

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Este artigo tem como objeto de estudo o filme Retrato de Uma Jovem em Chamas (2019, dir. Céline Sciamma) e a teoria do olhar fí­lmico, firmemente proposta por Laura Mulvey em 1975 e rearticulada ao longo dos anos por diversos teóricos cinematográficos. Além da teoria de Mulvey sobre o olhar masculino, dialogaremos também com os estudos de Joey Soloway sobre o olhar feminino. O artigo conjuga análise imanente, a partir de cenas que articulam importantes trocas de olhares entre as protagonistas Marianne e Héloïse, artista e musa em coparticipação criativa na feitura de um retrato, com a análise extrafí­lmica do discurso feito por Céline Sciamma acerca do olhar no cinema. Assim, estudamos um discurso narrativo e fí­lmico que tensiona a noção de olhar masculino, apresenta o olhar feminino (ou "outro olhar" ) e estabelece o próprio olhar de Sciamma, aquele em que a mulher artista é redirecionada para o centro da narrativa como agente-sujeito ativo de sua própria imagem.
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22

Mulvey, Laura. "From a faculty seminar with Laura Mulvey: reflections on visual pleasure." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 385–87. http://dx.doi.org/10.1080/17400309.2017.1377923.

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23

Khalilullah Muhammad Bayezid, Fahmida Hossain, and Sumaya Hasin. "‘Male Gaze’ in Bollywood Item Songs: A Study of Popular Song Munni Bodnam Hui of Dabang (2010) Movie." CenRaPS Journal of Social Sciences 4, no. 1 (May 20, 2022): 227–38. http://dx.doi.org/10.46291/cenraps.v4i1.78.

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The importance of item songs along with the excellent story is on the increase in contemporary cinemas, especially in Bollywood cinemas. In these songs, the presence of recent heroines is very much noticeable, and even many cinemas get the promotion centering on the item songs where the erotic demonstration of the female character gets more preference. In these songs, the heroine is nothing but a product to be entertained, and the males are the spectators. According to Laura Mulvey, if a woman is presented in the way ‘the spectators want to look at is identical to the male gaze. In this article, a famous Bollywood item song has been selected to analyze based on the Theory of Male Gaze by Mulvey.
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24

Gerbase, Carlos. "Outlander: um olhar feminino sobre a sexualidade." Rumores 11, no. 22 (November 23, 2017): 116. http://dx.doi.org/10.11606/issn.1982-677x.rum.2017.133656.

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A partir da releitura do ensaio Prazer visual e cinema narrativo, texto feminista clássico dos anos 1970, de autoria de Laura Mulvey, que acusa o cinema mundial – e em especial o produzido em Hollywood – de ser machista e transformar o espectador, independente de gênero, em um voyeur do sexo masculino, discuto neste trabalho as possíveis transformações acontecidas nesse quadro estético nos últimos 40 anos. Os objetos empíricos deste estudo são o romance Outlander, de Diana Gabaldon, e a primeira temporada da série de TV homônima, que estão bem distantes da misoginia apontada por Mulvey. Uma sequência de ações referentes a uma relação sexual, presente tanto no romance quanto na série televisiva, foi analisada detalhadamente, de modo a flagrar novas estratégias narrativas e estéticas da indústria audiovisual contemporânea.
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25

Pablo Gonçalo, Pablo Gonçalo Martins Pires de Campos, Lúcia Ramos Monteiro, and Victor Cruzeiro. "Atração, Formalismo e História do Cinema: Uma conversa com Tom Gunning." Aniki: Revista Portuguesa da Imagem em Movimento 11, no. 2 (July 18, 2024): 162–84. http://dx.doi.org/10.14591/aniki.v11n2.1068.

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Nesta entrevista, Tom Gunning comenta sua trajetória cinéfila, sua formação acadêmica e os primeiros anos de pesquisa. Gunning também ressalta os diálogos com outros colegas da sua geração, como Noël Burch, David Bordwell, Thomas Elsaesser e Laura Mulvey. O conceito de cinema de atração, o papel da análise formalista nos estudos de cinema e a questão do racismo na obra de D.W. Griffith são alguns dos temas abordados.
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26

Sellier, Geneviève. "La Vie d’Adèle. Laura Mulvey et le « male gaze » sont toujours d’actualité …" Décadrages, no. 43 (July 1, 2020): 63–75. http://dx.doi.org/10.4000/decadrages.1565.

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27

McAllister, Matthew P., and Lauren J. DeCarvalho. "Sexualized Branded Entertainment and the Male Consumer Gaze." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 299–314. http://dx.doi.org/10.31269/triplec.v12i1.506.

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This article applies the “male consumer gaze” – integrating work influenced by Erving Goffman and Laura Mulvey – to two branded televised events: the 2011 Victoria’s Secret Fashion Show and the 2012 Hooters International Swimsuit Pageant. Critiqued elements include gendered body positioning, televisual and narrativizing techniques, social and integrated media, and branding strategies that combine to create a flow of consumption-based male gazing. Such trends may intensify with changes in media economics and niche marketing.
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McAllister, Matthew P., and Lauren J. DeCarvalho. "Sexualized Branded Entertainment and the Male Consumer Gaze." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 299–314. http://dx.doi.org/10.31269/vol12iss1pp299-314.

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This article applies the “male consumer gaze” – integrating work influenced by Erving Goffman and Laura Mulvey – to two branded televised events: the 2011 Victoria’s Secret Fashion Show and the 2012 Hooters International Swimsuit Pageant. Critiqued elements include gendered body positioning, televisual and narrativizing techniques, social and integrated media, and branding strategies that combine to create a flow of consumption-based male gazing. Such trends may intensify with changes in media economics and niche marketing.
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Mendes, Mônica Vitória, and Denise Da Costa Oliveira Siqueira. "Protagonismo feminino em desenhos animados: gênero e representações no entretenimento audiovisual." Revista_Mídia_e_Cotidiano 12, no. 2 (August 31, 2018): 125. http://dx.doi.org/10.22409/ppgmc.v12i2.10065.

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Este artigo tem como objetivo analisar representações da mulher em heroínas de desenhos animados, investigando de que forma esse tipo de produção audiovisual questiona e/ou reforça estereótipos de feminilidade, reproduzindo valores patriarcais e demandas mercadológicas. A partir de um entendimento de gênero como construção social, busca-se fazer um mapeamento de representações, a fim de entender como o protagonismo feminino é fabricado atualmente em narrativas de animações e identificar que discursos veiculam. Com base em pesquisa de coleta de dados, observação e análise de animações televisivas da grade de programação brasileira e de produções cinematográficas recentes, o trabalho conta com referencial teórico que inclui Heleieth Saffioti e Laura Mulvey, fundamentando questões de gênero, e Edgar Morin e Douglas Kellner para discutir as relações entre mídia e cultura.
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30

Hardister, Mia. "Femininity and the Alien Other in Under the Skin." Ex Animo 2, no. 1 (2022): 12–19. http://dx.doi.org/10.5399/uo/exanimo/2.1.2.

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In this paper, I attempt to analyze the 2014 film Under the Skin through its formal and generic elements and relate these to philosophical thought regarding objectivity and gender from theorists including Kant, de Beauvoir, and Irigaray, as well as media scholars Barbara Creed and Laura Mulvey. I argue that throughout the course of the film, by its presentation of horror, science-fiction, and film noir elements, as well as its cinematography, structure, sound, and mise-en-scène a commentary on the societal objectification of women is constructed, all stemming from its presentation of the female experience as something which is inherently alien.
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Liu, Qi. "Unfair Utilization in Horrific Films: Objectifying Female Characters in Alfred Hitchcock’s The Birds." BCP Social Sciences & Humanities 20 (October 18, 2022): 109–15. http://dx.doi.org/10.54691/bcpssh.v20i.2170.

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In this essay, it examines the film The Birds and analyzes the scenes necessary to advance the men’s desires in the film's presentation as a result of the director and screenwriter's unfair scripting and arrangement of female characters. These unequal arrangements were thought to satisfy the 1860s male moviegoer's desire for both power and beauty, and to have negative impacted the feminism that was gradually manifesting itself in Hollywood films. Proven by Laura Mulvey' s argument that the portrayal of women in Hollywood films has been maliciously distorted. While this essay will focus on Alfred Hitchcock's horror thrillers--The Birds.
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Albizu Ontaneda, Natalia. "Mujeres irrepresentables. La crítica feminista a la narratividad cinematográfica clásica." Bajo Palabra, no. 5 (December 30, 2010): 131–40. http://dx.doi.org/10.15366/bp2010.5.012.

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Este trabajo se propone realizar un breve recorrido por los inicios de la teoría cinematográfica feminista a partir de la incorporación de la teoría psicoanalítica que llevó a cabo el célebre artículo de Laura Mulvey, “Placer visual y cine narrativo”. El propósito de tal recorrido es poner de manifiesto la problematización de la categoría “mujer” que tanto la teoría como la práctica cinematográficas feministas llevaron a cabo por medio del cuestionamiento de la narración y del lenguaje de la representación. Se trata de mostrar cómo tales aportaciones perfilaron de alguna manera la configuración del feminismo mismo como un campo inestable de problematización.
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Flisfeder, Matthew, and Anthony Ballas. "Is it Possible to Represent the Sexual Relation in Cinema?" Language and Psychoanalysis 11, no. 1 (May 15, 2022): 4–15. http://dx.doi.org/10.7565/landp.v11i1.6455.

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This article offers a reflection on the Lacanian theory of the representation of the sexual relation in film. It draws on the Lacanian logic of sexuation and its interpretation by Joan Copjec and Slavoj Žižek, analyzing what the author calls the cinematic non-relation, taking as an example Alfonso Cuarón’s film Y tu mamá también (2011). The article begins by returning to the work of Laura Mulvey, who was one of the first theorists to use psychoanalysis as a political weapon to challenge the phallocentric portrayal of women in Hollywood cinema. The author argues that Mulvey was correct in her conclusions, however not with regard to the production of a “ male gaze”, but rather with regard to the cinematographic construction of male desire, which is a constitutive element of patriarchal society. The author argues that it is not by creating an “alternative” cinema, but rather developing critical theory, itself, as a political weapon that we are able to challenge the dominant ideology. It is the practice of theory that politicizes cinema and the spectator, rather than the reverse.
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Gokcem, Selen. "Transperance Me I Want to be Visible: Gay Gaze in Tom Ford’s film A Single Man." CINEJ Cinema Journal 1, no. 2 (April 20, 2012): 86–91. http://dx.doi.org/10.5195/cinej.2012.46.

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Classic gaze theory that was underlined by Laura Mulvey in 1975 which claims the male gaze objectifies woman and turns the woman into a sex object, is lack in the explaining gaze from man to man. In Tom Ford’s A Single Man the gaze is used from man to man different from man to woman and it is not perceived as something negative. By providing a queer gaze analysis, this article will show how homosexual people live their intimate feelings by gaze and how gay gaze can be different from the classic gaze in a way that it does not reduces the other one in an interior position.
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35

Kurz, Iwona. "Gdzie jest autorka?" Kwartalnik Filmowy, no. 125 (April 8, 2024): 268–73. http://dx.doi.org/10.36744/kf.2493.

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Artykuł jest recenzją książki Małgorzaty Radkiewicz Refleksje zza kamery. Reżyserki o kinie i formie filmowej (2022), która prezentuje twórczość teoretyczną sześciu artystek filmowych. Są to: Alice Guy-Blaché (1873-1968), Germaine Dulac (1882-1942), Maya Deren (1917-1961), Laura Mulvey (ur. 1941), Trinh T. Minh-ha (ur. 1952) i Alexandra Juhasz (ur. 1964). Autorka skupia się na szczegółowym przedstawieniu wybranych tekstów tych twórczyń i wprowadzeniu w ich refleksję o filmie. Radkiewicz deklaruje, że jej celem jest podkreślenie ich obecności i znaczenia w historii myśli filmowej. W książce brakuje jednak podejścia krytycznego, pozwalającego na większe zdialogizowanie poszczególnych rozdziałów, a w ich obrębie – na odniesienia do kontekstu współczesnego i dzisiejszej teorii.
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36

Bruyère, Vincent. "Le martyre de sainte Sébastienne." reproduire, no. 17 (September 8, 2011): 119–30. http://dx.doi.org/10.7202/1005752ar.

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Cet article se propose de reproduire l’expérience hagiographique de Victor Burgin devant un autoportrait de Helmut Newton à partir d’interventions critiques de la part de Laura Mulvey, Michel de Certeau, Daniel Arasse et Georges Didi-Huberman. Au centre de cette expérience se situe la figure insaisissable de sainte Sébastienne ainsi que l’amorce de la question de sa différence en tant qu’événement à la fois visuel et de genre dans le discours de l’histoire sur l’image (d’art). Poursuivant le spectre de Sébastienne à travers ses diverses incarnations chez Helmut Newton, Louise Bourgeois et Antonello de Messine, l’objectif est de questionner l’opérativité critique du « re- » qui conditionne à la fois un retour à l’image et le retour du regard dans l’image.
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Zhang, Yiqian. "Analysis of Female Gaze in Lesbian Films from the Perspective of Camera Language —Taking Portrait of a Lady on Fire as an Example." BCP Social Sciences & Humanities 21 (February 15, 2023): 227–31. http://dx.doi.org/10.54691/bcpssh.v21i.3482.

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Western feminist film theory was formed in the 1960s and 1970s and it has been widely discussed since then. With the help of Freud’s psychoanalysis, Laura Mulvey analyzes the interweaving of erotic pleasure in film, its meaning, and the central place of the image of the woman. At the same time, the improvement of film technology and photography methods provide more chances for female spectators to seek pleasure as counterparts in films. The lesbian film is a category that crosses many film genres and highlights female subjectivity. Both female characters and spectators can be the subject of different kinds of gaze, looking at others while experiencing the story about a woman’s affection. Based on Freud’s psychoanalysis and Laura Mulvey’s theory, this paper analyzes how camera language embodies the female gaze in Céline Sciamma’s esbian film Portrait of a Lady on Fire (2019). The study of interaction among the camera, the character, and the spectator is of great significance in the realization of the female gaze, which can be inspired for future films, especially feminist films, to stress the value of female roles and pay attention to female spectators’ emotions.
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AN, YU, and Chang-Wan Han. "Female Figures in Chinese Animation Based on Laura Mulvey"s Gaze Theory : Focusing on 〈Green Snake〉." Korean Journal of animation 19, no. 3 (September 30, 2023): 239–62. http://dx.doi.org/10.51467/asko.2023.09.19.3.239.

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39

Russo, Michela. "Devolver la mirada: el personaje de Vera en 'La piel que habito' de Pedro Almodóvar." Comunicación y Género 2, no. 2 (November 20, 2019): 161–82. http://dx.doi.org/10.5209/cgen.66508.

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Este ensayo analiza la dialéctica entre mirada masculina y mirada femenina en el cine a través del análisis del personaje de Vera en La piel que habito (2011) de Pedro Almodóvar. El movimiento de la cámara, sus ángulos y tomas materialmente establecen la mirada que estructura una película y construye a sus personajes. Consideramos la noción de mirada masculina desarrollada por Laura Mulvey en 1970, como una mirada que corresponde al placer masculino objetivador. Suplementamos esta noción con la definición de mirada femenina desarrollada por Jill Soloway, como un intento de contrastar esta perspectiva. A través de Vera, que es un personaje transexual, Almodóvar exacerba esta dialéctica entre miradas hasta romperla, a la vez tematizando una noción de feminidad más amplia capaz de instituir una mirada queer.
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Akser, Murat. "Remembering Thomas Elsaesser and Peter Wollen." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 1–13. http://dx.doi.org/10.5195/cinej.2020.286.

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Late in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal. His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer.
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Ihsanullah, Abi, Siti Eka Rahayu, and Valentina Edellwiz Edwar. "Objektivikasi Dibalik Subjektifikasi Perempuan dalam Iklan Pantene: Interview Kerja yang Terberat." Jurnal Wanita dan Keluarga 1, no. 2 (December 28, 2020): 40–49. http://dx.doi.org/10.22146/jwk.1030.

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Penelitian ini bertujuan untuk mengidentifikasi perempuan-perempuan yang dinarasikan di dalam iklan Pantene. Iklan rambut adalah salah satu iklan yang banyak mengekspos bagian tubuh perempuan sebagai yang dikomersialisasikan sekaligus digunakan untuk mengobjektivikasi perempuan. Iklan tersebut dipilih karena mengangkat isu-isu perempuan dalam interview kerja. Interview kerja ini menjadi penting karena menempatkan perempuan dalam ranah publik. Konsep Gaye Tuchman tentang symbolic annihilation dan konsep Laura Mulvey tentang male gaze and visual pleasure digunakan untuk mempresentasikan bagaimana perempuan dinarasikan menjadi objek untuk dinilai dan dievaluasi berdasarkan atribut semu dalam iklan tersebut. Metode yang digunakan di dalam penelitian ini adalah analysis isi. Aspek-aspek objektivikasi terhadap perempuan dikoleksi dari iklan-iklan tersebut. Dari penelitian ini, ditemukan bahwa perempuan hanya dinilai dari bentuk tubuh yang secara langsung membuatnya kembali menjadi objek lewat media.
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Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.
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Mann, Doug. "The Body as an “Object” of Historical Knowledge." Dialogue 35, no. 4 (1996): 753–76. http://dx.doi.org/10.1017/s0012217300008611.

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Body theory is the work of historians, sociologists, philosophers, and other scholars in the past twenty to twenty-five years that explicitly focuses on the body, especially on sexuality and gender. The body is seen as an ideological surface on which history and politics inscribe their truths. It is, in short, a corporeal epistemology standing in opposition to all the old cognitive epistemologies (e.g., Descartes, Locke, and modern analytic thought as a whole). Régimes of power are known through the way they oppress, manipulate, and construct the human body. Body theory includes the work of Michel Foucault, Thomas Laquer, and feminist scholars such as Hélène Cixous, Laura Mulvey, and Elaine Showalter. This work is carried on, by and large, in the methodological atmosphere of a constructivist notion of gender, sexuality, social ideas, and the self.
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Barr, Charles. "Rethinking Film History: Bazin's Impact in England." Paragraph 36, no. 1 (March 2013): 133–52. http://dx.doi.org/10.3366/para.2013.0082.

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A new orthodoxy suggests that André Bazin's work had little influence in anglophone countries until decades after his death. This article cites a wide range of evidence, mainly from British publications, in order to challenge this view. Starting with the critics who were associated with the ground-breaking magazine Movie in the early 1960s, it notes also Bazin's early impact in America via the magazine Film Quarterly and the high-profile critic Andrew Sarris. Moreover, Peter Wollen and Laura Mulvey, two of the most prominent British theorists commonly associated with an anti-Bazinian ‘Screen Theory’ of the 1970s, are shown to have been both continuously respectful of, and influenced by, Bazin's work. In short, it is argued that Bazin's influence on anglophone film culture has been continuous and formative rather than sporadic.
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Archontogeorgi, Artemis. "Gaze, movement and gender in Ovid’s story of Atalanta and Hippomenes (Met. 10.560-707)." Letras Clássicas 2, no. 1 (May 27, 2024): 195–224. http://dx.doi.org/10.11606/issn.2358-3150.v2i1p195-224.

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In his Metamorphoses, Ovid created a world of alternating images that reflect both the significance of visual communication and the importance of movement. In these stories, vision and movement are closely related to the characters’ genders, the plot, and the final transformations. The relationship between Ovid’s literary text and a movie as a narrative, wherein the medium of storytelling differs, allows for the application of feminist film theory, especially that of Laura Mulvey. This approach can be applied to the Metamorphoses, Ovid’s piece of art that combines both text and image in an exemplary manner. Atalanta’s story, which will be discussed, is chosen precisely because it highlights the multidimensional function of vision and movement, combined with the gender of the observer and the object of the gaze, as well as the transformation process.
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Walsh, Maria. "Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures, Laura Mulvey and Anna Backman Rogers (eds) (2015)." Moving Image Review & Art Journal (MIRAJ) 5, no. 1 (December 1, 2016): 256–64. http://dx.doi.org/10.1386/miraj.5.1-2.256_5.

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Bose, Brinda. "The Desiring Subject: Female Pleasures and Feminist Resistance in Deepa Mehta's Fire." Indian Journal of Gender Studies 7, no. 2 (September 2000): 249–62. http://dx.doi.org/10.1177/097152150000700207.

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Analysing Deepa Mehta's recent controversial film Fire, which portrays lesbian love between two sisters-in-law, both of them slighted in marriage by their respective partners, as a recourse against and resistance to patriarchal oppression, we find Mehta's portrayal guilty of watering down the politics of lesbian desire—as sexual preference within a larger sphere of sexual choices. Moreover, Mehta's location as an Indo-Canadian filmmaker must also be taken into account when judging Fire's gender politics. In recent Canadian cinema, a considerable emphasis is placed on the sexual agency of female protagonists, both as bearers of the 'look' (famously ascribed by Laura Mulvey to male viewers alone), as well as free choosers of sexual lifestyles. In Fire, however, by contrast, the protagonists' love and escape are matters of necessity, both seem ingly still driven by the male (non-) desiring gaze.
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Susmita, Farhana. "The Question of “Female Gaze”:." Crossings: A Journal of English Studies 6 (August 1, 2015): 148–57. http://dx.doi.org/10.59817/cjes.v6i.219.

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This paper problematizes the issue of an “active female gaze” as opposed to the passive one determined by the dominant ideological system that produces an “active male gaze” in narratives of cinema and advertisements. In mainstream cinema as well as the advertisement industry, usually the story is rendered from an essentially male perspective, regardless of the narrator’s being male or female. It is so even when the subject matter is related to issues that directly concern women like the repression of their desires or Lesbianism, for instance. Using some of the key ideas propounded by British film critic Laura Mulvey, the paper examines some of the texts from both cinema and the advertisement industry to find out the complex mechanism of the “male gaze.” It also attempts to explore the possibility of a “female gaze” that might, if achieved, give new dimensions to both forms of entertainment.
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Paul, Daniel. "A space for the female viewer? The spectatorial gaze and damaged masculinity in Tre metri sopra il cielo and Ho voglia di te." Journal of Italian Cinema & Media Studies 12, no. 3 (July 1, 2024): 429–44. http://dx.doi.org/10.1386/jicms_00269_1.

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In this article, I analyse the narratives of Tre metri sopra il cielo (Three Steps Over Heaven) (Lucini 2004) and its sequel, Ho voglia di te (‘I desire you’) (Prieto 2007) through the gendered paradigm of the spectatorial gaze theorized by Laura Mulvey. These films, I argue, subtly shift the active/male, passive/female paradigm of looking by displacing Step (Riccardo Scamarcio) as the focalizing subject, thereby empowering the films’ female protagonists – Babi (in Three Steps Over Heaven) and Gin (in Ho voglia di te) and female viewers. By subverting norms associated with the gendered gaze, I contend that these films reimagine heteronormative gender roles in Italy in a way that resonated primarily with its female audience. By focusing on women who transgress traditional gender norms, and by presenting a damaged form of masculinity, these films successfully create a space for the female spectator.
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সামন্ত, সহেলী. "বিশ শতকের নির্বাচিত কবির কবিতায় নারীর নিজস্ব ভাষার বহুমাত্রিকতা." BL College Journal 4, no. 1 (July 1, 2022): 07–20. http://dx.doi.org/10.62106/blc2022v4i1b1.

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সমাজে নারীর অবস্থান, তার নিজস্ব জগৎ তৈরি করে, তৈরি করে তার নিজস্ব ভাষা (Women's Dialect)। পুরুষের চোখে নারীর কল্পনা নয়, নিজের ভাষায় নারীর নিজের বক্তব্য তুলে ধরার পর্ব শুরু হয়েছে। সেই ভাষা একটি নতুন পথ নির্মাণ করেছে। এই ভাষায় যেমন নারীর নিজস্ব অভিজ্ঞতা, বঞ্চনার কথা ব্যক্ত হয় তেমন বিচিত্র অভিমুখও চিত্রিত হয়। Laura Mulvey 1975 সালে 'Male Gaze Theory'র কথা বলেন। বাংলা কবিতায় এই Theory ভাঙার পর্ব শুরু হয়ে গিয়েছিল বহু আগেই। এই প্রবন্ধে বিশ শতকের নির্বাচিত চারজন কবি কবিতা সিংহ, নবনীতা দেবসেন, কেতকী কুশারী ডাইসন ও গীতা চট্টোপাধ্যায়ের কবিতার ভাব ও ভাষা দ্বারা, নারীর নিজস্ব ভাষার বিচিত্র স্বরূপ তুলে ধরা হয়েছে। কবিতা সিংহের কবিতার ভাষা তীক্ষè ক্ষুরধার, নবনীতা দেবসেনের কবিতাভাষা সংহত, কেতকী কুশারীর কবিতাভাষা আপাত সরল কিন্তু তীব্র অনুভূতিতে ঋদ্ধ, গীতা চট্টোপাধ্যায়ের কবিতাভাষা সংস্কৃতঘেঁষা প্রজ্ঞা ও মননের দীপ্তিতে উজ্জ্বল। নারীর নিজের ভাষা সমৃদ্ধ ও শক্তিশালী। বর্তমান প্রবন্ধে নির্বাচিত কবির কবিতাভাষা ও ভাবনার মধ্য দিয়ে নারীভাষার বহুমাত্রিক স্বরূপকে তুলে ধরা হয়েছে।
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