Journal articles: 'The male gaze'

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Pritchard, Annette, and Nigel J. Morgan. "Privileging the male gaze." Annals of Tourism Research 27, no. 4 (October 2000): 884–905. http://dx.doi.org/10.1016/s0160-7383(99)00113-9.

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Wood, Mitchell J. "The Gay Male Gaze." Journal of Gay & Lesbian Social Services 17, no. 2 (August 2004): 43–62. http://dx.doi.org/10.1300/j041v17n02_03.

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Zuhair Al-Wattar, Shaymaa. "Breaking the Spell of the Male Gaze in Selected Women's Ekphrastic Poems." Journal of Education College Wasit University 2, no. 37 (December 18, 2019): 20. http://dx.doi.org/10.31185/eduj.vol2.iss37.1106.

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For centuries art and poetry have been inspiring each other and the relation between word and image constantly fascinates the poets. The literary world has given poems that tackle artwork the name: ekphrasis. Ekphrasis represents a rich hunting ground for references, allusions, and inspiration for poets. However, ekphrasis is powerfully gendered that privileged male gaze. Traditionally, the male is given the strong position as the gazer, while the woman is locked in her predetermined role that of the beautiful, silent, submissive, gazed upon. Women poets refuse to adhere to the gendered ekphrastic tradition and the under-representation of women in ekphrastic poetry. They strongly challenged the ekphrasis tradition modifying it to create a distinctive feminist ekphrasis. Their poetry changes the male-dominated ekphrsis tradition that for centuries has pervaded the Western cultures. The work of the poets Louise Bogan,Carol Ann Duffy, Rita Dove, and Margaret Atwood is an excellent example of women's ekphrastic poetry that defies the tradition of patriarchal male gaze in an attempt to break the spell of the male gaze.

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Karunianingsih, Diyah Ayu. "Kamera Sebagai Alat Operasi Male Gaze: Analisis Male Gaze dalam Film Horor “Pacar Hantu Perawan”." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (November 21, 2016): 19. http://dx.doi.org/10.24821/rekam.v12i1.1384.

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Abstrak Kehadiran perempuan dalam sebuah film horor dapat dilihat dari bagaimana perempuan direpresentasikan dan diposisikan. Film yang dianalisis adalah film horor berjudul Pacar Hantu Perawan. Menurut Lauretis teknik sinematik mengonstruksi perempuan sebagai objek hasrat pandangan bagi penonton dengan menggarisbawahi representasi tubuh perempuan sebagai sisi utama seksualitas dan kesenangan visual. Dalam tulisan ini dianalisis teknik sinematik terutama kamera dengan berbagai pilihan tipe pengambilan gambar (type of shot) yang digunakan. Analisis juga dilakukan terhadap teknik pencahayaan (lighting) dan pilihan kostum. Dari hasil analisis diketahui bahwa teknik sinematik baik teknik pengambilan gambar (type of shot) maupun pencahayaan digunakan untuk melancarkan hasrat memandang laki-laki (male gaze) dan mengeksploitasi tubuh perempuan demi kesenangan visual. Kamera digunakan sebagai alat beroperasinya hasrat memandang (voyerist gaze). Perempuan diposisikan sebagai objek bagi pandangan laki-laki yang patuh terhadap tatapan mata kamera (tatapan mata laki-laki). Teknik sinematik mengonstuksi perempuan sebagai objek hasrat pandangan bagi orang-orang di balik produksi dan penonton.Kata kunci: male gaze, teknik sinematik, perempuan, objek seksualitas AbstractCamera as a Tool of Male Gaze Operations: The Analysis of Male Gaze in Horror Film “Pacar Hantu Perawan”. The presence of women in a horror movie can be seen from how women are represented and positioned. The title of The film being analyzed is ‘Pacar Hantu Perawan’. According to Lauretis, cinematic technique is used to construct women as an object of eyeing desire for the audience by highlighting the representation of the female body as the primary side of sexuality and visual pleasure. In this paper the cinematic techniques were analyzed, especially the camera with its various types of shooting. Analyses were also conducted on the technique of lightings and costume selection. The result of the analyses shows that the cinematic techniques, either the types of shots or the lightings were used to expedite the male gaze and exploit the female body for the sake of visual pleasure. The camera is used as an operating means of eyeing desire (voyeur gaze). Women were positioned as the objects of the male gaze adherent to the gaze of the camera (male gaze). Cinematic techniques constructed women as objects of male gaze for the people behind the production as well as the audience.Keywords:

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Ghsoh, Tamal. "Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 28, 2021): 151–59. http://dx.doi.org/10.24113/ijellh.v9i7.11140.

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Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

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Snow, Edward. "Theorizing the Male Gaze: Some Problems." Representations 25 (January 1, 1989): 30–41. http://dx.doi.org/10.2307/2928465.

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Snow, Edward. "Theorizing the Male Gaze: Some Problems." Representations 25, no. 1 (January 1989): 30–41. http://dx.doi.org/10.1525/rep.1989.25.1.99p0256r.

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Wan Yahya, Wan Roselezam, Emily Abd Rahman, and Zainor Izat Zainal. "Male Gaze, Pornography and the Fetishised Female." International Journal of Interdisciplinary Social Sciences: Annual Review 5, no. 1 (2010): 25–38. http://dx.doi.org/10.18848/1833-1882/cgp/v05i01/53015.

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Pearce, Margaret. "“Morpho Eugenia”: Problems with the Male Gaze." Critique: Studies in Contemporary Fiction 40, no. 4 (January 1999): 399–411. http://dx.doi.org/10.1080/00111619909604922.

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Merrill, Kenneth, Aidan Bryant, Emily Dolan, and Siying Chang. "The Male Gaze and Online Sports Punditry." Journal of Sport and Social Issues 39, no. 1 (September 10, 2012): 40–60. http://dx.doi.org/10.1177/0193723512455920.

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Derné, Steve, and Lisa Jadwin. "Male Hindi filmgoers' gaze: An ethnographic interpretation." Contributions to Indian Sociology 34, no. 2 (June 2000): 243–69. http://dx.doi.org/10.1177/006996670003400204.

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Guldimann, Colette. "The (black) male gaze: Mbongeni Ngema's Sarafina!" South African Theatre Journal 10, no. 2 (January 1996): 85–100. http://dx.doi.org/10.1080/10137548.1996.9688179.

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Sholikhah, Rahmatika Luthfiana, Wening Udasmoro, and Rr Paramitha Dyah Fitriasari. "Male Gaze dalam Tari Sekapur Sirih Jambi." Jantra. 15, no. 2 (December 14, 2020): 139–48. http://dx.doi.org/10.52829/jantra.v15i2.140.

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Tari Sekapur Sirih adalah tari penyambutan tamu agung di Jambi. Tari ini wajib dibawakan untuk menyambut tamu agung di bandara/pelabuhan. Ditarikan oleh 9 orang perempuan dan 3 lakilaki sebagai pengawal. Gerakan yang ditampilkan bersifat feminin yaitu gerak wanita sedang merias diri. Penulis membahas beroperasinya male gaze yang terjadi di dalam tari Sekapur Sirih Jambi. Malegaze merupakan teori untuk membedah film. Penulis menggunakan teori ini untuk membedah seni pertunjukan yakni tari. Untuk melihat beroperasinya male gaze di dalam tari dapat dilihat dari panggung pertunjukan dan juga gerak tarinya. Penelitian ini merupakan penelitian kualitatif dengan melakukan studi pustaka, observasi dan wawancara. Hasil dari penelitian ini menunjukan bahwa beroperasinyamale gaze dalam sebuah seni pertunjukan taridapat dilihat dari bentuk panggung, pencahayaan dan gerak penari.

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Krombholc, Viktorija. "WITH SHINING EYES: WATCHING AND BEING WATCHED IN SARAH WATERS’S "TIPPING THE VELVET"." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 151. http://dx.doi.org/10.19090/gff.2015.1.151-162.

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The aim of this paper is to explore the dynamics of looking and being looked at in Sarah Waters’s Tipping the Velvet. The analysis is theoretically framed by feminist film theory and the concept of the male gaze. According to Laura Mulvey, classic narrative cinema reflects social views on sexual difference and reaffirms the active male/passive female binary. The novel raises the issue of what happens with the gaze when the protagonists are non- heteronormative, a question further made complex by the theme of cross-dressing, which destabilizes visual gender coding and makes it unreliable. The female narrator is infatuated with a male impersonator only to become one herself, and the visual interaction that spurs their sexual relationship on does not fit neatly into Mulvey’s analysis, as both the bearer of the gaze and its object are female, a woman coded as masculine. The male gaze is further deconstructed as the main female character becomes a prostitute, passing for male and working with male clients. Finally, the novel questions the controlling aspect of the gaze implicit in Mulvey’s essay, as the gaze is reimagined as a potential source of power to be desired and invited.

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Pokharel, BR, LJ Thapa, R. Paudel, and PVS Rana. "Vertical Gaze Palsy with Skew Deviation." Kathmandu University Medical Journal 11, no. 4 (September 23, 2015): 342–43. http://dx.doi.org/10.3126/kumj.v11i4.13481.

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With the advancement of neuroradiology, clinical localization followed by radiology, had made neurology more interesting. Vertical gage palsy as presentation cerebrovascular disease is not so common. Vertical gaze palsy usually localizes the lesion to dorsal mid brain. A 56 years male patient presented with sudden onset vertigo, diplopia, transient loss of consciousness and sways toward right side while walking. Clinical examination showed vertical gaze palsy with skew deviation along with swaying towards rt. during walk. MRI brain showed – infarct involving dorsal midbrain at superior colliculus level and medial thalamusKathmandu Univ Med J 2013; 11(4): 342-343

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Skelton, Christine. "Constructing dominant masculinity and negotiating the 'male gaze'." International Journal of Inclusive Education 6, no. 1 (January 2002): 17–31. http://dx.doi.org/10.1080/136031102753389819.

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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/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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Rajasakran, Thanaseelen, Santhidran Sinnappan, Thinavan Periyayya, and Sridevi Balakrishnan. "Muslim male segmentation: the male gaze and girl power in Malaysian vampire movies." Journal of Islamic Marketing 8, no. 1 (March 6, 2017): 95–106. http://dx.doi.org/10.1108/jima-01-2015-0007.

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Purpose The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory. Design/methodology/approach This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory. Findings The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences. Research limitations/implications This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area. Practical implications The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies. Social implications This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market. Originality/value This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.

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Iizuka, Yuichi. "Gaze during Speaking as Related to Shyness." Perceptual and Motor Skills 78, no. 3_suppl (June 1994): 1259–64. http://dx.doi.org/10.2466/pms.1994.78.3c.1259.

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32 shy and 32 nonshy women were selected from a population of Japanese junior college students on the basis of their responses to the Trait Shyness Scale. This study manipulated shyness (shy and nonshy), interviewers' gaze (high amount of gaze and low amount of gaze), and interviewers' sex in a 2 × 2 × 2 factorial design. Subjects were randomly assigned to eight groups and interviewed by one of two male or two female confederates. Two trained judges recorded duration of gaze and speech through a one-way mirror and watching videotaped records. Analysis showed that for the interviewer in the high gaze condition the self-reported shy women gazed less while speaking than the nonshy women.

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Coorlawala, Uttara Asha. "Darshan and Abhinaya: An Alternative to the Male Gaze." Dance Research Journal 28, no. 1 (1996): 19. http://dx.doi.org/10.2307/1478103.

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Baron, Ava. "Masculinity, the Embodied Male Worker, and the Historian’s Gaze." International Labor and Working-Class History 69, no. 1 (March 2006): 143–60. http://dx.doi.org/10.1017/s0147547906000081.

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While historians have provided insights into the ways women's work culture and labor organizing were infused with issues of sex, sexuality and appearance, they have not similarly examined the white male working body. This article discusses the significance of this different analysis for our understanding of men workers and for its ability to continue to marginalize women at the workplace. It considers how to incorporate the “bodily turn” in history by examining three conceptual themes in research on working-class masculinity: masculinity crises, muscular masculinity, and homosociality.

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Schafer, Elizabeth. "Shakespeare's Cleopatra, the Male Gaze, and Madonna: Performance Dilemmas." Contemporary Theatre Review 2, no. 3 (March 1995): 7–16. http://dx.doi.org/10.1080/10486809508568310.

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POWRIE, PHIL. "GODARD'S PRÉNOM: CARMEN (1984), MASOCHISM, AND THE MALE GAZE." Forum for Modern Language Studies XXXI, no. 1 (1995): 64–73. http://dx.doi.org/10.1093/fmls/xxxi.1.64.

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Cordell, Dena M., and Joseph R. McGahan. "Mutual Gaze Duration as a Function of Length of Conversation in Male—Female Dyads." Psychological Reports 94, no. 1 (February 2004): 109–14. http://dx.doi.org/10.2466/pr0.94.1.109-114.

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To assess the effects of familiarity on the duration of mutual gaze, and other measures of visual interaction, e.g., duration of unilateral gaze and discrepancy in duration between partners, 14 male–female dyads discussed unconditional positive regard for 8 min., after individually studying the topic for 10 min. Mutual gaze duration was significantly longer during the last 2 min. of the discussion than during the first 2 min. This suggests that, after some exposure at least, participants maintain longer durations of mutual gaze. Further, if the duration of mutual gaze is interpreted as a measure of intimacy, even a relatively short social interaction appears to increase the intimacy between two individuals of opposite sex. However, it is not clear whether these findings could be generalized to male–male and female–female dyads.

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Whyte, Elisabeth M., and K. Suzanne Scherf. "Gaze Following Is Related to the Broader Autism Phenotype in a Sex-Specific Way: Building the Case for Distinct Male and Female Autism Phenotypes." Clinical Psychological Science 6, no. 2 (November 16, 2017): 280–87. http://dx.doi.org/10.1177/2167702617738380.

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The search for a female autism phenotype is difficult, given the low diagnostic rates in females. Here, we studied potential sex differences in a core feature of autism, difficulty with eye gaze processing, among typically developing individuals who vary in the broad autism phenotype, which includes autistic-like traits that are common, continuously distributed, and similarly heritable in males and females. Participants viewed complex images of an actor in a naturalistic scene looking at one of many possible objects and had to identify the target gazed-at object. Among males, those high in autistic-like traits exhibited worse eye gaze following performance than did those low in these traits. Among females, eye gaze following behavior did not vary with autistic-like traits. These results suggest that deficient eye gaze following behavior is part of the broader autism phenotype for males, but may not be a part of the female autism phenotype.

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Adhikari, Sharmila. "Feminization or Homoeroticism: The Double Standard of Male Body." SMART MOVES JOURNAL IJELLH 8, no. 3 (March 28, 2020): 13. http://dx.doi.org/10.24113/ijellh.v8i3.10484.

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The representation of human body in popular culture has always been a matter of controversy. This controversy applied and still applies in women's body, particularly in commercials. The feminist critics accuse that women are objectified in the popular culture. The feminist movement of 1960’s did not only raise the issues of female rights upon their own body; however, it brought change in the meaning of men's body as well. The meaning of men's body came in equal manner in-line with female body in social landscape. The objectification of male body in popular culture remains crucial. The male's body has become a matter of gaze, which is not only a female gaze but voyeuristic gaze of males themselves. The sexually overloaded images of males in fashion magazines, newspapers, commercials have changed the way we see the males' body as brave, strong, and tough. The male's body, however, has been feminized as an erotic body along with masculine adjectives in Paco Rabanne's perfume commercials.

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Handayani, Rivi. "MALE GAZE DALAM FOTOGRAFI MODEL: OBJEKTIFIKASI DAN KOMERSIALISASI TUBUH PEREMPUAN." Jurnal Jurnalisa 3, no. 1 (August 1, 2017): 91–105. http://dx.doi.org/10.24252/jurnalisa.v3i1.3086.

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Ritland, Raeann. "Visual pleasure from motherhood: Alyssa Milano challenging the male gaze." Media, Culture & Society 40, no. 8 (September 5, 2018): 1281–91. http://dx.doi.org/10.1177/0163443718798902.

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Using male and female gaze theories as frameworks, this article analyzes the visual design and composition of four distinct breastfeeding (BF) photographs posted by Alyssa Milano to her Instagram in order to better understand the public’s mixed responses of support and criticism. I argue that Milano borrows visual elements from the male gaze and combines them with feminine content in an attempt to (1) challenge the dominant, patriarchal norm of deriving pleasure from viewing sexualized women and (2) instead encourage an understanding of the maternal woman as visually pleasing. In turn, Milano’s message supports the normalization of public BF. Milano’s position as firmly entrenched in the male-dominated world of television and film is key: it enables her to speak and promote change from within the system, for external oppositions often remain on the outside, as counterpoint. Using Instagram promotes this as well. Rather than dilute their power, intermingling BF images with those representing the dominant culture may prove more successful for its gradual progression to normalization. The end goal, of course, is to encourage not just acceptance but a sense of pleasure in seeing feminine representations of women, including those focused on aspects of motherhood, like BF.

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Sullivan, Laura L. "Cyberbabes: (Self-) representation of women and the virtual male gaze." Computers and Composition 14, no. 2 (January 1997): 189–204. http://dx.doi.org/10.1016/s8755-4615(97)90020-7.

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Patterson, Maurice, and Richard Elliott. "Negotiating Masculinities: Advertising and the Inversion of the Male Gaze." Consumption Markets & Culture 5, no. 3 (September 2002): 231–49. http://dx.doi.org/10.1080/10253860290031631.

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Glenn, Colleen. "Complicating the theory of the male gaze: Hitchcock’s leading men." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 496–510. http://dx.doi.org/10.1080/17400309.2017.1376892.

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J. S., Smithi Mohan. "Histories, memories and the male gaze: The Mumbai riots inBombay." South Asian Popular Culture 17, no. 2 (May 4, 2019): 159–69. http://dx.doi.org/10.1080/14746689.2019.1616939.

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Manon, Hugh S. "Paranormal Activity and the revenge of the Mulveyan male gaze." Psychoanalysis, Culture & Society 18, no. 1 (March 11, 2013): 81–90. http://dx.doi.org/10.1057/pcs.2012.50.

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Langton, Stephen R. H. "The Mutual Influence of Gaze and Head Orientation in the Analysis of Social Attention Direction." Quarterly Journal of Experimental Psychology Section A 53, no. 3 (August 2000): 825–45. http://dx.doi.org/10.1080/713755908.

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Three experiments are reported that investigate the hypothesis that head orientation and gaze direction interact in the processing of another individual's direction of social attention. A Stroop-type interference paradigm was adopted, in which gaze and head cues were placed into conflict. In separate blocks of trials, participants were asked to make speeded keypress responses contingent on either the direction of gaze, or the orientation of the head displayed in a digitized photograph of a male face. In Experiments 1 and 2, head and gaze cues showed symmetrical interference effects. Compared with congruent arrangements, incongruent head cues slowed responses to gaze cues, and incongruent gaze cues slowed responses to head cues, suggesting that head and gaze are mutually influential in the analysis of social attention direction. This mutuality was also evident in a cross-modal version of the task (Experiment 3) where participants responded to spoken directional words whilst ignoring the head/gaze images. It is argued that these interference effects arise from the independent influences of gaze and head orientation on decisions concerning social attention direction.

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Stevens, Michael J., Mary Beth Rice, and James J. Johnson. "Effect of Eye Gaze on Self-Disclosure." Perceptual and Motor Skills 62, no. 3 (June 1986): 939–42. http://dx.doi.org/10.2466/pms.1986.62.3.939.

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60 female and 60 male undergraduates were assigned randomly and in equal numbers to a female or male interviewer who maintained high, moderate, or low eye gaze while verbally administering the Self-disclosure Sentence Completion Blank of Greene. A two-way (eye gaze × subjects' sex) analysis of variance on over-all scores yielded a main effect for subjects' sex; women self-disclosed more than men. Across subjects, perceived self-disclosure was greater than verbal self-disclosure. The methodological limitations of analogue research are discussed.

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Deaner, Robert O., Stephen V. Shepherd, and Michael L. Platt. "Familiarity accentuates gaze cuing in women but not men." Biology Letters 3, no. 1 (November 28, 2006): 65–68. http://dx.doi.org/10.1098/rsbl.2006.0564.

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Gaze cuing, the tendency to shift attention in the direction other individuals are looking, is hypothesized to depend on a distinct neural module. One expectation of such a module is that information processing should be encapsulated within it. Here, we tested whether familiarity, a type of social knowledge, penetrates the neural circuits governing gaze cuing. Male and female subjects viewed the face of an adult male looking left or right and then pressed a keypad to indicate the location of a target appearing randomly left or right. Responses were faster for targets congruent with gaze direction. Moreover, gaze cuing was stronger in females than males. Contrary to the modularity hypothesis, familiarity enhanced gaze cuing, but only in females. Sex differences in the effects of familiarity on gaze cuing may reflect greater adaptive significance of social information for females than males.

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Oliver, Kelly. "The male gaze is more relevant, and more dangerous, than ever." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 451–55. http://dx.doi.org/10.1080/17400309.2017.1377937.

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Rachma, Fatima Meutia, and Himmatul Ulya. "Representasi Male Gaze dalam Film Biografi ‘Lovelace’ (Analisis Semiotika John Fiske)." Jurnal Ilmiah Muqoddimah: Jurnal Ilmu Sosial, Politik dan Hummanioramaniora 5, no. 2 (June 16, 2021): 384. http://dx.doi.org/10.31604/jim.v5i2.2021.384-394.

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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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Mincheva, Dilyana, and Niloofar Hooman. "Between the Averted Gaze and the Male Gaze: Women in Farhadi’s Films as Tentative Harbingers of Cinematic Islamic Feminism." International Journal of the Image 11, no. 2 (2020): 19–32. http://dx.doi.org/10.18848/2154-8560/cgp/v11i02/19-32.

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Dewi, Agustina Kusuma, Yasraf Amir Piliang, and Irfansyah Irfansyah. "DELEUZE CINEMATICA’ ETHIC IN JAVA WOMEN'S REPRESENTATION ON ‘SETAN JAWA’ GARIN NUGROHO'S FILM." VISUALITA 8, no. 1 (August 16, 2019): 39–46. http://dx.doi.org/10.33375/vslt.v8i1.1867.

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Film is a medium of visual communication that plays a role in the dissemination of women's concept discourse in Indonesia, one of which is due to its distinctive characteristics that can last for a long period of time, potentially wider in its dissemination, including also being a mass media hypnotic culture. The film is closely related to the concept of gaze, male gaze in the cinematography industry, which according to overly uses men's views, which is positioning women as subjects who have no power over themselves (self-possessiveness) but as objects of male gaze. Women become commodities in the film, a sex object that is commodified to construct an image that represents the position of women is as an additional role that is not important in one film narrative. In the male gaze narration, women in the film do not act, but become part of the actions of men. Morally, male gaze assumes that the behavior of women in films has a vacuum, but in Garin Nugroho's 'Setan Jawa’ using Deleuze's cinematic study, women are positioned to have other representations that differ from the ethics of cinematics which do not place women as signs of sex objectification for the sake of fulfillment of men's desires, but as subjects who are fully empowered and may wish of themselves.

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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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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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Vasudev, Archana. "‘Male Gaze’ in Malayalam Cinema: a reading of K.G. George's ‘Adaminte Variyellu’." Research Journal of Humanities and Social Sciences 9, no. 1 (2018): 114. http://dx.doi.org/10.5958/2321-5828.2018.00020.7.

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Kim, Yaeri. "Femme Fatale vs. Masculine Narrative: Interrogating the Male Gaze in Inception (2010)." Criticism and Theory Society of Korea 21, no. 3 (September 15, 2016): 257–78. http://dx.doi.org/10.19116/theory.2016.21.3.257.

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Cousins, A. D. "Towards a reconsideration of Shakespeare's Adonis: Rhetoric, narcissus, and the male gaze." Studia Neophilologica 68, no. 2 (January 1996): 195–204. http://dx.doi.org/10.1080/00393279608588184.

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Jeng, Jonah. "Crime and Punishment: Challenging the Cinematic Male Gaze with Takashi Miike’s Audition." Film Matters 6, no. 3 (September 1, 2015): 16–20. http://dx.doi.org/10.1386/fm.6.3.16_1.

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Neville, Lucy. "Male gays in the female gaze: women who watch m/m pornography." Porn Studies 2, no. 2-3 (July 3, 2015): 192–207. http://dx.doi.org/10.1080/23268743.2015.1052937.

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Sato, Yusuke, Shuko Torii, Masaharu Sasaki, and Thomas Heinen. "Gaze-Shift Patterns during a Jump with Full Turn in Male Gymnasts." Perceptual and Motor Skills 124, no. 1 (November 13, 2016): 248–63. http://dx.doi.org/10.1177/0031512516676148.

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Journal articles on the topic 'The male gaze'

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