Filmmaking: Masculine and Feminine Sexualities - Assignment Example

Name: Course: Tutor: Date: Question 1: How does Studlar’s work on fetishism and masochism challenge Mulvey’s theory of the male gaze? Which theory do you find best describes the representation of women in cinema? Laura Mulvey is one of the influential feminist film theorists. In her article, “Visual Pleasure and Narrative Cinema” Mulvey introduces the theory of the “male gaze.” Mulvey’s theory on the male gaze highlights the nature of power imbalance between men and women. This theory analyses the way men see women and the way in which women see themselves and other women (Mulvey 4-9). Generally, Mulvey’s theory suggests that in film, when an audience views a text from the outlook of a heterosexual man, the audience is bound to be exposed to scenes showing the curves of a woman’s body. Mulvey accentuates that in mainstream films, the male gaze is typically dominant over the female gaze. She further argues that whether or not women agree with or accept the male gaze, they generally conform to patriarchal norms that were established to favour men’s interests. Mulvey’s sentiments in this theory draw on to Freudian concepts on human development from infancy to adulthood. She also draws her sentiments from Freud’s view on the Oedipal Complex where successful negotiation occurs when an individual’s normal desire for the father or mother are in the later life displaced to their heterosexual partners. Basically in this theory, Mulvey tries to show how film as an apparatus is structured around patriarchal ideals (Mulvey 6-18). Gaylyn Studlar is among the first feminist film theorists to challenge Mulvey’s theory on the male gaze. Her works on fetishism and masochism contrast with Mulvey’s sentiments depicted in the theory of the male gaze. Basically, Studlar’s work on fetishism and masochism draw onto the psychoanalytic framework however, unlike Mulvey she distances her sentiments from the Freudian psychoanalytic model. Studlar challenges Mulvey’s theory of the male gaze by arguing that the male gaze signifies submission to rather than possession of the female. She suggests that for male film viewers, pleasure derived from a certain form of phallic woman is in some sense masochistic and not as Mulvey suggested (Greven 32-38).As a result, this masochism may be the cause of the cinematic gaze just as sadism is. Studlar challenges Mulvey’s theory for its narrow outlook on women’s images as being subjected to a controlling, sadistic male gaze. Moreover, in her works on fetishism and masochism challenges Mulvey’s outlook by arguing that for the infant and masochist who are in the helpless stage of imagery pleasure is mainly derive from complete submission to the female and not control over her(Studlar 7-16). This subjectivity also applies to film audiences. Basically, Studlar’s work on work on fetishism and masochism challenge Mulvey’s theory of the male gaze by accentuating on the fact that female representations in films align symbolically and narratively with masochistic impulses and as a result they make explicit the link between the illusion of possession and the fantasy of submission (McCaughey & King 71-73). Personally, I think that Studlar’s theory offers a more realistic representation of women in cinema. A critical look at films such as ‘Alien’ (1979) and Tomb Raider (2001) portrays Studlar outlook rather than Mulvey’s theory on the male gaze. In Alien (1979), using a woman as the main character, was a bold move on the part of the directors. The film features a strong female protagonist. In this film, women are portrayed as having strength, courage and wit (Gallardo & Smith 13-17). Similarly, in Tomb Raider (2001), Angelina Jolie plays Lara Croft, a stunning, intelligent, determined and tactful woman. The film not only gives attention to her striking feminine features but it also portrays her strong, dominative and intelligent qualities. This is in contrast to Mulvey’s theory on the male gaze which suggests that film as an apparatus is structured around patriarchal ideals (Mulvey 6-18). Question 2: Steve Neale argues that Sergio Leone’s “spaghetti westerns” work to “disavow any explicitly erotic look at the male body” (285). How do filmmakers avoid any explicitly erotic look at the male body? In his article, “Masculinity as spectacle” Steve Neale argues that Sergio Leone’s “spaghetti westerns” genre of films disavow any explicit erotic look at the male body. Neale draws to some elements from Mulvey’s theory on the male gaze to come up with a strong view on spectatorship and patriarchy. Neale notes that erotic elements that are involved within relations between the male image and the spectator have constantly been disavowed and repressed. If this was not the case, Neale argues that mainstream cinema would have come into terms with male homosexuality such that they would seek to deny or denigrate it (Neale 2-17). He further notes that male homosexuality is often presented as an undercurrent and potentially disturbing aspect of many genre and films. Nevertheless, it is repressed and portrayed symptomatically and obliquely. Basically, Neale accentuates that the male spectacle and the exposure to the male body objectifies, diminishes, incarcerates and reduces the male to the same position as that of women in film. He suggests that one of the ways in which film makers can avoid explicit erotic look at the male body is by removing or shifting displays on the sexual nature of the male body and frequenting scenes of men in torture and bloody combat. This in turn disqualifies the male body as an “object of erotic contemplation and desire” (Peirce 13-16). Over the years, film makers have avoided explicit erotic presentation of the male body. Films such as ‘The Thing’ (1982) and The Terminator (1984) show the way in which filmmakers avoid any explicitly erotic look at the male body. In ‘The Thing’ (1982) there are various scenes showing the male body nevertheless, these scenes do not portray the sexual nature of the male body. Instead most scenes showcasing the male body tend to focus the male body in a more combative way rather than in a sexual way. For example, following attacks from the creatures the filmmakers portray male bodies in tormented and bloody combat. Similarly, in The Terminator (1984) the male figure is portrayed as combative rather than sexual. In addition to this, there are scenes of the male body in tormented and bloody combat. In this film, Arnold Schwarzenegger, the Terminator, has well built masculine features. Nevertheless, Cameron portrays his body in tormented and bloody form so as to avoid explicit erotic presentation of the male body. Question 3: In Visual Pleasure and Narrative Cinema, Laura Mulvey argues that cinema structures acts of looking through a male gaze. Several of her examples (for example Hitchcock’s Vertigo & Rear Window) are also available for a disability analysis. How are disabled characters subject to a normative or able gaze within cinema? Film theory requires disability critique and analysis especially due to its longstanding attention to the gaze and spectatorship. The gaze is essentially a form of physicality that studies on disability have tried to redirect (Chivers & Markotic 4). Traditionally, film representations of individuals with physical and mental disability are drawn from social and cultural assumptions. In most films disability has been excessively displayed while at the same time disproportionately underrepresented. In a good number of films, disabled characters are often minor figures whose imperfect bodies act as foils for the protagonist whose desirable physical abilities are highlighted through comparison with the undesirable" physical qualities of the disabled character. In this case, disabled characters perform the dual purpose of epitomizing a character flaw and contrast to which primary characters succumb and represent themselves. In other words, disabled characters are generally represented as support characters in film. In most films, disabled characters reveal a “spiritual” quality that makes their disability tragic due to their suffering this in turn heightens their goodness and dignity. Based on an abliest perspective disability is weighed based on how much an able-bodied audience admires or pities characters for persevering through their disabilities (Mulvey 833-844). A number of science fiction films portray people with disabilities. For instance “The day of the Triffids” (1962) begins with a large number of the world’s population being blinded by a meteor shower. In addition to this, science fiction films have a tendency to portray characters with vision impairments. In Star Trek (2009) engineer Geordi La Forge is visually impaired, so as to see he uses a special visor, this device also helps him to see in infra-red wavelengths. In this film, he is portrayed as an able and intelligent character. In Alien Resurrection (1997) disability is portrayed from an abliest perspective. In this film, a mechanic is seen comfortably piloting his electric wheelchair in the police station. Nevertheless, when the alien invades, he abandons his wheelchair in order to escapes. Basically, within cinema disabled characters are subjected to a normative gaze by being portrayed in a pitiful state. On the other hand, some films portray disabled characters in an able gaze by portraying them as able and intelligent characters. Question 4: How do queer filmmakers subvert hetero-normative structures of representation? The dominance of patriarchal ideas and values are evident in the key cultural and social aspects of most societies. Even in film patriarchal ideas and values are evident. In her theory on the male gaze, Mulvey argues that as an apparatus, film is structured around patriarchal ideals (Mulvey 6-18). Over time, based on patriarchal ideals and values certain subvert hetero-normative structures of representations have been formed. In most cases, these representations revolve around gender role. These structures do not allow or embrace alternatives to heterosexuality. Based on these hetero-normative structures of representations women are portrayed as sexual object under the subjugation of men. Furthermore, women considered as weak and frail in need of men’s protection. On the other hand, based on these hetero-normative structures of representations men are portrayed strong and heroic creatures. These hetero-normative structures of representations are evident in most films. For instance, in action and science fiction film makers have constantly portrayed the picture of a strong and heroic male rescuing a damsel in distress (Cooper 44-63). Another way of looking at these hetero-normative structures of representations is by putting into account Mulvey’s sentiments on the male gaze. According to Mulvey, when an audience views a text from the outlook of a heterosexual man, the audience is bound to be exposed to scenes showing the curves of a woman’s body. This gaze signifies submission and possession of the female to the male. In this case, Mulvey highlights the nature of power imbalance between men and women, whereby men are considered to be more superior to women (Mulvey 6-18). Over the years, a good number of film makers have incorporated these hetero-normative structures of representations in their films. These representations determine their plots, themes, settings and even their choice of character (Faust 1-5). For instance, in The Terminator (1984) these hetero-normative structures of representations are evident. In this film James Cameron portrays the Terminator (Arnold Schwarzenegger) as the main antagonist whose main is to exterminate human existence. The terminator is programmed to kill Sarah Connor however Kyle Reese a key protagonist in the film fights to defend her. In this film Cameroon portrays the cliché picture of a strong and heroic male rescuing a damsel in distress. Over time queer filmmakers have emerged who have subverted these hetero-normative structures of representation. One of the ways in which they have managed to do this, is by changing representations of masculine and feminine sexualities. In addition to this, these film makers subvert hetero-normative structures of representation by entirely configuring or creating multiple and complicated representations of sexuality. For example, in Alien (1979), Ridley Scott challenges status quo by portraying woman differently from the representations based on hetero-normative structures. In this film, Scott features a strong female protagonist showcasing strength, courage and wit. Moreover in the film, Tomb Raider (2001), Simon West portrays the protagonist leading character, Lara Croft, as not only being beautiful but also intelligent, determined and tactful woman. West portrays Croft as a woman who manages to outdo her male opponent. Evidently, in these films queer film makers such as Simon West and Ridley Scott have managed to subvert hetero-normative structures of representation by changing representations of masculine and feminine sexualities (Faust 1-5). Works cited Chivers Sally & Markotic Nicole. The Problem Body: Projecting disability on film. Columbus: Ohio University Press 2010, p 4 Cooper Brenda. Boys don’t cry and female masculinity: reclaiming a life and dismantling the politics of normative heterosexuality. Critical studies in Media Communication 2002, 19(1), pp. 44-63. Faust Meredith S. ""Love of the purest kind": Heteronormative rigidity in the homoerotic fiction of Ann Herendeen. Theses and Dissertations 2010 Paper 41, pp. 1-5. Gallardo Ximena & Smith Jason. Alien woman: The making of Lt Ellen Ripley. New York: International Publishing Group. 2006, pp. 13-17. Greven David. Manhood in Hollywood from Bush to Bush. Texas: University of Texas Press. 2009, pp. 32-38. McCaughey Martha & King Neal. Reel knockouts: violent women in the movies. Texas: University of Texas Press. 2001, pp. 71-73. Mulvey Laura. “Visual Pleasure and Narrative Cinema”. Screen 1975, 16(3), pp. 6-18. Mulvey Laura. Visual and other pleasures. Bloomington: Indiana University Press. 1989, pp. 4-9. Mulvey Laura. “Visual Pleasure and Narrative Cinema”. Film theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. Neale Steve. Masculinity as Spectacle. Screen 1983, 24(6), pp. 2-17. Peirce, Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films. Master's Theses, Dissertations and Graduate Research Overview. " 2009, Paper 19, pp. 13-16. Studlar Gaylyn. In the realm of pleasure: Von Sternberg, Dietrich and the masochistic aesthetic. Illinois: University of Illinois Press. 1988, pp. 7-16. Videography Alien 1979 Dir. Ridley Scott Alien Resurrection 1997 Dir. Jean –Pierre Jeunet Star Trek 2009 Dir. J.J Abrams The day of the Triffids 1962 Dir. Steve Sekely The Terminator1984.Dir. James Cameron The Thing1982 Dir. John Carpenter Tomb Raider 2001 Dir. Simon West Read More