Visual pleasure and narrative cinema

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Way back in the 70s and 80s, Laura Mulvey, Susan McClary, Catherine Clement and plenty of other feminist theorists showed how artworks cut up, dehumanized, eliminated, and often just straight up killed both women characters and feminized compositional features, and that this treatment of women and feminized compositional features worked, both narratively and formally, to produce pleasurable aesthetic experiences. And what does it see? What does the protagonist in the film enjoy?

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Hollywood cinema still exploits the image of women Bibliography Primary source Secondary sources. In a time of rapid technological progress and development, everything changes quite fast. These changes can be seen in every field of life.

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Visual and Other Pleasures pp Cite as. This paper intends to use psychoanalysis to discover where and how the fascination of film is reinforced by pre-existing patterns of fascination already at work within the individual subject and the social formations that have moulded him. It takes as its starting-point the way film reflects, reveals and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking and spectacle.

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Laura Mulvey born 15 August is a British feminist film theorist. She was educated at St Hilda's CollegeOxford. She is currently professor of film and media studies at Birkbeck, University of London.

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Marking a return for Laura Mulvey to questions of film theory and feminism, as well as a reconsideration of new and old film technologies, this urgent and compelling collection of essays is essential reading for anyone interested in the power and pleasures of moving images. Its title, Afterimagesalludes to the dislocation of time that runs through many of the films and works it discusses as well as to the way we view them. Beginning with a section on the theme of woman as spectacle, a shift in focus leads to films from across the globe, directed by women and about women, all adopting radical cinematic strategies.

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Mulvey begins by defining the pleasure in looking. First, there is scopophelia; associated with the filmic illusion of looking into a private world. This pleasure is derived on sexual instinct.

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The workout room is lined with mirrors. On the Stairmaster, a book-rest holds Self. Each self is an anxious image, to be maintained with attention, self-sacrifice, and the risk of pain.

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The book was recently promoted and discussed in a succession of symposia and public presentations in London, Gothenburg, Amsterdam, Groningen, and Utrecht. Later this year, Feminisms will be the topic of a public debate at Centre Pompidou in Paris. Fellow series editors Ian Christie and Dominique Chateau seemed to agree that this topic deserved its own publication.

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