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Laura Mulvey _____, "Visual Pleasure & Narrative Cinema," published in "Screen" 1977. classic realist text The bourgeois individual constructed in _____ is also gendered. psychoanalytic, pleasure Classic realist film language and narrative structure interpreted through _____ theory (Freud, Lacan); relations of _____/seeing/knowing (scopophilia) that relate to patriarchal, heterosexual gender roles voyeurism _____: Seeing/knowing as power and pleasure. ignorant, castration, voyeuristic Voyeurism: Watching someone _____ of being watched, disavows _____ anxiety through knowledge-power over object of gaze, narrative cinema as _____, but weighted towards men watching women. fetishism _____: Re-locating object of desire to as substitute object, power & pleasure castration, lips, fetishistic Fetishism: The sight of female genitalia awakens _____ anxiety, fetish objects (_____, legs, articles of clothing), close-ups as _____: Monroe's lips and breasts, Betty Grable's legs, etc. director, camera, POV, spectator Three gazes of CRT: - _____/_____ (Male) - Character _____ shots (Male to Female) - _____ watching film (Male) masculine, female Male centered narratives: _____ activity versus _____ to be looked at-ness Mary Ann Doane _____: Women's Pictures as the exceptions that prove the rule. medical gaze The _____: strength of feminine heroine undermined by male doctor show girl _____ movies: Women on display. Dance Girl Dance An exception to show girl movies: Dorothy Arzner's _____: Madame Basilova and Bubbles manipulate male gaze, Judy talks back to audience gender and race Feminist Self Critique & Feminist Counter Cinema: _____ gender Feminist counter cinema: Focusing on category of _____ dismisses attention to related categories of identity, such as race/ethnicity. proto feminist, racist, white supremacy Dance Girl Dance might reflect a _____ consciousness that questions the male gaze. But film's _____ imagery suggests lack of self consciousness abut race. Takes _____ for granted w/stereotypical depictions of AA. Jane Gaines, gendered _____: Cinematic racism functions through racial and _____ gazes of power between characters; AA men punished for gazing at Anglo women gazing relationships, anglo-male, racial, patriarchal Watermelon Man's critique of racism revolves around _____. Jeff's power was assured when he had the _____ gaze, both as a subject and object of gaze. He's divested of both _____ and _____ power when he turns black - entirely objectified. racist, robbery, objectification, desire Jeff is object of _____ gaze that cancels out his patriarchal power. Folks accuse him of _____ (stereotypes produced and confirmed through racist gaze). Erika's sexual _____ of Jeff because he's black (resorts to invocation of white patriarchy to punish Jeff: Rape!). Althea's lack of _____ towards Jeff when his skin changes. racialized, gendered Male gaze is _____, racist gaze is _____. gender and race 1980s and 1990s Feminist Counter Cinema: emergence of films that centralize related categories of _____. Julie Dash FCC: Filmmaker _____: Illusions, Daughters of the Dust male gaze, anglo gaze, anglo gaze, male gaze, invisibility Illusions concentrates on relationship between _____ and _____. Story of Mignon passing for white executive in 1940s Hollywood. Hires AA singer to dub white woman's singing. Mignon's power rests on her passing (_____) but as white, always tentative power because she is a woman (_____). Esther's power rests on _____.