A Textual Analysis of a Scene from Now Voyager and its Effects on Male and Female Spectators

As Laura Mulvey explained in her article "Visual Happiness and Narrative Films", movies as "advanced representative systems" bring pleasure in finding actions and she classifies it as voyeurism or voyeurism (Malvei 484). Through film experience, people can sit in a dark theater and enjoy from an invisible angle. As E. Ankaplan mentioned in the introduction to the book "Women and Movies", there are three emergence of this gaze behavior. "(I) In movie texts, men gaze at a woman and gaze. (Ii) in turn, the viewer agrees with the gaze of the man and objectives the woman on the screen, and (iii) the camera

Mulvey unlocked the story and visual techniques in the movie to turn the voyeur into privileges of men. In the story of the movie, the male character looks to the female character. Because the camera captures the ratio of optics and power from male characters, theater audiences are identified by the appearance of men. Thus, the line of sight of a movie (camera, character, and bystander) has three levels of objecting female characters and making her spectacular. In classical films, voyeurism treats women as "treatment subjects" (1989: 19)

The popular movie develops around two moments, the moment of the story and the magical moment. One relates to active men and the second relates to passive women. Male audiences fixed their line of sight to the hero ('the appearance owner') to satisfy self-formation and to satisfy sexual desire from hero to heroine ("appearance of porn"). At first glance it seems to recall the moment of recognition / misunderstanding in front of the mirror. The second expression seems to confirm that women are sexual subjects. I insist that the second appearance looks more complicated

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The difficulty of theorizing the female audience is that Jackie Stacey (1987) has surprised feminist movie critics who wrote women, probably men, masochist or the darkest scene for the limit. But there are several different sounds. Gertrud Koch (1980) is one of the few feminists who had long recognized that women can understand the image of the beauty of women on the screen. In particular, the upper, which is exported from Europe and integrated in Hollywood movie images, provides a positive image of femininity. Koch believes that the image of the upper gives the female audience a fun experience of the mother as an object of love of early childhood. In addition, upper sexual contradictions such as Greta Garbo and Marlene Dietrich enable lesbian fun, not merely being negotiated through men's eyes.