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Representations of sexuality in films
Sexualization and objectification of women in cinema
The representation of women as a sex object in different movies
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Kubrick’s Gaze In Laura Mulvey’s article “Visual Pleasure and Narrative Cinema” she uses the concept of scopophilia, or pleasure obtained through looking at things, to discuss the portrayal of women in film as passive sexual objects, while inferring that it is the active male “gaze” that objectifies them. Mulvey’s ideas are extremely relevant to Stanley Kubrick’s final film Eyes Wide Shut, in which the themes of sexuality and voyeurism are abundant. The gender roles are very clearly defined in Eyes Wide Shut. The men control the “gaze” and obtain scopophilic pleasure by looking at women. The women, on the other hand, are all presented as highly sexualized objects, or things that exist simply to be looked at. Furthermore, when they do have
Similar to Alice, Amanda is highly sexualized in the film. In fact, she makes appearances at three different points in the movie, and she is completely unclothed in each scene. Amanda is first seen in the bathroom of Victor Ziegler, where she is lying incapacitated due to an overdose. She is completely naked, while the two men standing over her, Ziegler and Bill, are fully clothed. She is then examined by Bill, another affirmation of the gender roles described by
Domino is introduced into the film when she approaches Bill on a street corner, attempting to solicit herself to him as a prostitute. Just as with the other women in the film, she is eventually punished for being in control of her own sexuality. When Bill returns to her apartment later on in the story, he is greeted by her roommate who explains that Domino has been diagnosed with HIV.
The patriarchal cinematic ideology detailed by Laura Mulvey in “Visual Pleasure and Narrative Cinema” is pervasive in Stanley Kubrick’s film Eyes Wide Shut. The women in the film all eventually become the passive sexual objects that Mulvey has described in her paper. There are times in the film that women attempt to defy these strongly enforced gender roles, but they are always punished and returned to their positions as objects of the male
Mulvey, Laura."Visual Pleasure and Narrative Cinema." The Sexual Subject: A Screen Reader in Sexuality/Screen. London: Routledge, 1992.
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
However, in Modleski’s analysis of the film, Rear Window, it is apparent that it is the actions of the characters that evaluates and defines their masculinity or femininity. The heroines, Violet and Corky are opposites when it comes to appearance. As it was established, Violet is feminine and Corky is masculine. However, in the film it only initially seems like Violet plays the more passive role and Corky plays the more active role. At the escalation of the film, Violet demonstrates her masculinity and actively uses the male gaze in her
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
The climax is illustrated and clarified through the symbolic tearing or exposing of the bare walls. She wants to free the woman within, yet ends up trading places, or becoming, that "other" woman completely. Her husband's reaction only serves as closure to her psychotic episode, forcing him into the unfortunate realization that she has been unwell this whole time.
Bly, she starts noticing the appearances of a woman and a man. When the governess confides
Scopophilia is taking other people as objects, subjecting them to a controlling and curious gaze by allowing the spectator to look into a secret diegetic world, a projection of desire onto the former. For example, Peeping Tom (1960) stimulates a direct connection with the audience between eye and phallus, through the form of a camera wielded by protagonist and serial killer Mark Lewis (Carl Boehm). He is equip...
... she calls her husband “that man” (608), implying that she no longer recognizes him, and says that she “had to creep over him every time”, clearly not comprehending the absurdity of crawling repeatedly around the room and over her husband’s unconscious body.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
realises what it has done to her. At the beginning of the play she is
In 1975, a feminist filmmaker Laura Mulvey coined the concept ‘male gaze’, as we see ‘the gaze’ at work in both these films, Some Like It Hot and My Week With Marilyn (Helford, 2015). There are many significant qualifications made in such a universalization of ‘male’ and ‘female,’ as well as carefully considering with differences, of race, class, social, era and culture components (Helford, 2015). Heterosexual men who engage in the privileges of the male gaze, including, have been historically tied to this gaze factor (Helford, 2015). Similarly, women who do not conform to social norms of appearance; from size to ability to race and class deems unworthy of being objectified (Helford, 2015). However, the male gaze is always incomplete solution
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...
Feminist theory was derived from the social movement of feminism where political women fight for the right of females in general and argue in depth about the unequality we face today. In the aspect of cinema, feminists notice the fictitious representations of females and also, machismo. In 1974, a book written by Molly Haskell "From Reverence to Rape: The treatment of Women in Movies" argues about how women almost always play only passive roles while men are always awarded with active, heroic roles. Moreover, how women are portrayed in movies are very important as it plays a big role to the audience on how to look at a woman and how to treat her in real life due to the illusionism that cinema offers. These images of women created in the cinema shapes what an ideal woman is. This can be further explained through an article 'Visual Pleasure and Narrative Cinema' written by a feminist named Laura Mulvey in 1975. She uses psychoanalysis theories by Sigmund Freud to analyze 'Scopophilia' which is the desire to see. This explains how the audience is hooked to the screen when a sexy woman is present. In a bigger picture, where Scopophilia derives from, 'Voyeurism' is also known as feeling visual pleasure when looking at another. Narcissism on the other hand means identifying one's self with the role played. It is not hard to notice that in classical cinema, men often play the active role while the women are always the object of desire for the male leads, displayed as a sexual object and frequently the damsels in distress. Therefore, the obvious imbalance of power in classical cinema shows how men are accountable to moving the narratives along. Subconsciously, narcissism occurs in the audience as they ...
As the 1960s started to progress, so did filmmakers lack of boundaries and chance to push the limits. We begin to see sexual standards and taboos begin to make their change. “Gone were the twin beds, and in to replace them came full-frontal nudity. Though this freedom was used by some filmmakers as an excuse for sexual titillation and spawned a successful independent cottage industry of hard- and soft-core fi lm pornography, it did permit a widening of the range of permissible film topics. American films now had a greater chance to convey aspects of human relationships that they previously had little freedom to depict.” (Quart 78).