FILM AND THE MASQUERADE THEORIZING THE FEMALE SPECTATOR PDF
Mary Ann Doane’s essay, “Film and the Masquerade: Theorizing the Female Spectator” attempts to answer some of the questions raised by. Type: Chapter; Author(s): Mary Ann Doane; Page start: ; Page end: Is part of Book. Title: The sexual subject: a Screen reader in sexuality; Author(s). Film and the Masquerade: Theorising the Female Spectator Title: Feminist film theory: a reader; Author(s): Sue Thornham; Date: ; Publisher: Edinburgh.
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Doane Study Guide
Can women be spectators? Don’t already have an Oxford Academic account? Without question, a theorrizing like Clarice Sterling exists to always be desired, by the male and female spectator alike.
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Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC. How do I set a reading intention To set a reading intention, click through to any list item, tilm look for the panel on the left hand side: Please log in to set a read status.
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Sign In or Create an Account. The male strip tease or gigolo are not unknown to modern cinema or culture.
Film and the Masquerade: Theorizing the Female Spectator
Sign In Forgot password? To purchase short term access, please sign in to your Oxford Academic account above. Men already achieve the distance required from the image and as a result can fetishize it. What are reading intentions? She does this in order to downplay her transgression and her castration threat.
In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship. Here’s an example of what they look like: Most users should sign in with their email address.
What are reading intentions? This article is also available for rental through DeepDyve. Film and the Masquerade: Theorizing the Female Spectator. As Irigaray discusses, a problem is language. As opposed to male transvestism which is an occasion for ridicule female transvestism is a path towards desire. In this scenario, Clarice is powerless and cannot return the gaze, whether she knows she is being watched or not.
Without this distance, it is impossible for a woman to become a spectator of a feminine image in film. Setting up reading intentions help you organise your course reading. Please log in to set a read status Setting a reading intention helps you organise your reading. This excess of femininity highlights how femininity is but a hyperbolic gendered performance, not an innate structure.
Your reading intentions are also stored in your profile for future reference. The choice of extreme close up shots of Clarice intercut with her POV of the men gawking at her establishes a feminine gaze that spectators have no choice but to assume.
Create a free website or blog at WordPress. Psychoanalysis and Cinema Jocelyn Contreras. Email required Address never made public. You must be logged in to post a comment. You are commenting using your Facebook account. She is too close to achieve voyeuristic pleasure from gazing at a female object on screen.
She can never assume the role of the female spectator without this distance.
Film Culture, Theory, Entertainment Section: This item appears on List: So what does Doane theorising us? Film and the Masquerade: In a scene such as the one where Clarice is left alone in a room full of male officers, it is clear that men cannot comfortably look at Clarice as a desirable object.
All of Doane’s arguments depend upon the spectator’s ability to achieve a critical distance from the tthe image of woman. Leave a Reply Cancel reply Enter your comment here