Reassemblage: Challenging the Relationship between Women and Visual Pleasure

Reconstruction: The challenge to the relationship between women and visual pleasure Visual pleasure comes from images in the movie, mainly sexual imbalances. The fun of seeing is divided into active / male and passive / female. In her article "Visual Happiness and Narrative Films", Laura Malve asserts that women are simultaneously seen and exhibited in mainstream movies. In other words, women are subjects of desire and are also spectacle of men's shooting. The function of men is active, he advances the story and controls women's gaze.

Reorganization can be seen as an example of anti-movies advocated by Claire Johnston and Laura Malvey. The movie challenges fantasy and heritage traditions. But since this movie breaks down the mainstream documentary, not the classic Hollywood, it treats gaze problems in completely different contexts. The line of sight here is not the line of sight of a male who makes a woman objective, but the western perspective of trying to objectify other peoples. This line of sight is an "additional" expression: it gives a difference. Therefore, the problem is not concentrating on visual pleasure and voyeurism, but concentrating on practicing treating others. Trinh Minh-ha suggests that in Reassemblage people will never 'see' others in fact. Other radicals can not directly access or get translations. These images are usually strange frames, or images that are constantly being edited. This also means that you are not staring at each other at once.

Mulvey's main argument in "Visual Happiness and Story Movies" is that Hollywood's story movies are used to give women a fun visual experience for men. A story movie considers their gaze as masculine. A woman is not the owner of that person but is always an object of gaze (this is somewhat reminiscent of John Berger's "view") Movie gaze always creates masculinity by identifying male and male hero I will. Using a camera. Mulvey has identified two ways Hollywood movies are happy. It comes from different psychological mechanisms. One is image objectivity and the other is image recognition. Both of these mechanisms represent psychological needs of male subjects. The first form of pleasure includes Freud's so-called voyeurism or someone's happiness with some sort of stare.