The Male Gaze of Film and the Passive Glance of TV

Theorian Laura Malvey is famous for his claim to the essence of movie appreciation. In "Visual Happiness and Stories Movies", she concludes that the audience will experience two great pleasures when seeing traditional Hollywood movies: (1) Voyeurism takes women's images into account in an objective way By doing so. And (2) Narcissism by approval of male hero and his "gaze". (Mulvey 62) The center of her argument is Mulvey's emphasis on the attention quality of the viewer's "gaze". It is a remotely maintained force and materialized erotic appearance based on the female body's attractiveness.

In the movie there is a theory called male gaze. Feminist movie theorist Laura Malvey made this in her article "Visual Happiness and Story Movies" in 1975. In the movie, the line of sight belongs to the camera and the people behind it. The observer inherits the gaze, but this is usually the active gaze of a passive woman. The line of sight is not just for movies. It is evident in other forms of art, including photography. Most of the images we see on the mass media, especially those depicting women, are taken by men. Men always took pictures and people who chose masters of art. Women are always there and doing a strong job, but I do not have the same opportunity to say myself on the spot.

In her article, Laura Malvey pointed out that the line of sight of men was active and the line of sight of women was passive. In most cases, I agree with this discussion on the movie I saw so far. However, double compensation is slightly different. I will not say that it is turned over; I will say that the line of sight of men and the line of sight of women are on the same level. Fred McMurray seems to be confident in Barbara Stanwick in his opinion. Even if a woman is "punished" I think that women and men are still at the same level. Like Walter Neff, as Mrs. Dietrickson was killed at the end of the movie. They all seem to "get what they deserve"

Since the 1970s, when a scholar Laura Malvey identified the gaze of the dominant male in the movie, the movie research recognized the passivity of this woman on the screen. We know it - we get tired of it (like a sex robot made by Alex Garland's recent movie Ex Machina by a male AI expert), feminists and LGBT movies I ignore, but it still exists in popular entertainment. Meanwhile, people tried to establish a screen that included unmarried female Jill Clever to reflect Jena Rowlands of the Feminist Controversy - "Woman under the Influence" (1974). 1978) - But they are always a minority against position integration. Popular entertainment They can be ironic as self obsessing or solemn. Meryl Streep gives a short and cheerful impression, like Woody Allen's ex-wife (1979) in Manhattan, but when he mentioned him as "immoral and spiritually ill" he He is still happy smiling when mixed.