scholarly journals How powerful is the female gaze? The implication of using male celebrities for promoting female cosmetics in China

2020 ◽  
Vol 5 (1) ◽  
pp. 55-68
Author(s):  
Xiaomeng Li
Keyword(s):  
Male Gaze ◽  
Asian Countries ◽  
Chinese Market ◽  
Female Agency ◽  
Female Consumers ◽  
Consumption Culture ◽  
Female Gaze ◽  
Gender Power ◽  
Brand Ambassadors ◽  
Contemporary Chinese

In some East Asian countries like Japan, South Korea, and recently, China, there is a popular trend of having male celebrities as brand ambassadors or spokespeople for female cosmetics. This study is situated in the contemporary Chinese market and examines the so-called “Nan Se consumption (nan se xiao fei, 男色消费)” culture, which literally translates into “the consumption of sexualized men” in Chinese. Referring to postfeminism that focuses on female agency and the subjectivity of the female body, this article argues that the shift from “male gaze” to “female gaze,” and the consumption of sexualized men, appear to be revolutionary in terms of evaluating gender power; however, Chinese female consumers’ agency and self-empowerment are still limited by a conditioned neoliberal consumerist culture. The study also proposes that China’s contested “Nan Se consumption” culture reflects the complexity and fluidity of today’s postfeminist theorization.

scholarly journals The Criteria of Ideal Man as Seen from Female Gaze in Free!

K ta Kita ◽  
2019 ◽  
Vol 7 (2) ◽  
pp. 165-172
Author(s):  
Dita Berlian
Keyword(s):  
Personality Traits ◽  
Sex Role ◽  
Point Of View ◽  
Male Gaze ◽  
The Gaze ◽  
Female Gaze ◽  
Male Sex ◽  
Definition Of ◽  
Female Audience ◽  
The Ideal

Japanese animations (anime) are worldwide known. They are targeted to various kinds of audience. A drama-sport anime entitled Free! is rarely found as the targeted audience is female audience. Because Free! targets female audience, the definition of the ideal men is defined from the point of view of the female audience. Therefore, the gaze which is used to identify the male protagonists is female gaze. By using the theory of male gaze and traditional male sex role themes, I found that there is a combination of masculinity and femininity in the male protagonists in Free!. The combined characteristics are shown in the physical appearance, personality traits, and roles. The appearance of this type of an ideal man leads to a new concept in Japan which is called bishōnen. Keywords: Anime, ideal man, masculinity, femininity, female gaze, bishōnen.

“We All Want to Be Seen”: The Male Gaze, the Female Gaze and the Act of Looking as Metaphor in Emma Cline’s The Girls

2020 ◽  
pp. 71-82
Author(s):  
Alicja Piechucka
Keyword(s):  
Feminist Theory ◽  
Present Article ◽  
Male Gaze ◽  
Self Perception ◽  
Middle Aged ◽  
Women's Identity ◽  
Early Twenty ◽  
Female Gaze ◽  
Self Worth ◽  
Late Twentieth

Emma Cline’s 2016 novel The Girls, famously inspired by the Manson family and the murders committed by the group in 1969, is in fact a feminist bildungsroman. Its middle-aged protagonist-cum-narrator reflects not only on her own life and identity, but, most importantly perhaps, on what it means to grow up as a woman in the late twentieth and early twenty-first centuries. The present article centers on the ocular trope which Cline uses in her novel in order to showcase issues such as self-perception, self-worth and the shaping of young women’s identity. Focusing on the metaphorical dimensions of the act of looking, I propose to read Cline’s novel in light of Laura Mulvey’s seminal feminist theory of the male gaze and the opposite notion of the female gaze formulated by later feminist scholars. My analysis foregrounds those aspects of The Girls which make it a protest novel, denouncing the female condition in patriarchal societies and suggesting ways of opposing the objectification and indoctrination which lead to women being manipulated and victimized.

scholarly journals The Construction of Femininity in Shopping

2019 ◽  
Vol 2 (1) ◽  
pp. 57
Author(s):  
Yan Huang
Keyword(s):  
Social Relations ◽  
Consumer Society ◽  
Moral Principles ◽  
Female Consumers ◽  
Psychological Analysis ◽  
Consumption Culture ◽  
Commercial Operation ◽  
The One ◽  
Different Characteristics ◽  
Traditional Image

In different historical stages, the nature of women has been explained from the religious myth, the moral principles, the scientific rationality and the psychological analysis. In the consumer society, the widespread consumption not only changes people’s daily life but also their social relations, world views and values. Men and women with the effect of commodities show different characteristics. The consumption generalization is the basic fact in the consumer society. Women, as the important consuming power, become the key target group for enterprises and media. In order to correspond with the commercial operation, the mass media guides women and constructs a femininity to serve for the commercial profits.Generally speaking, consumption culture constructs femininity from the following two aspects: on the one side, it constructs a modern female beauty standard—young, beautiful and sexy. Women thus become a huge consuming group of hairdressing and fashion. On the other side, it still advocates the traditional image of good housewives. Female consumers are oriented as the agent purchasers for the whole family. It demonstrates in this paper that shopping is sexual consuming. Woman’s beautiful image and good housewives image presents on their “agent purchasers” role in shopping.

Gender, Power, and the Gamic Gaze

Gamer Trouble ◽  
2020 ◽  
pp. 99-136
Author(s):  
Amanda Phillips
Keyword(s):  
Video Games ◽  
Test Subject ◽  
The Other ◽  
Male Gaze ◽  
The Gaze ◽  
Scientific Experiment ◽  
Gender Power ◽  
Patriarchal Power ◽  
Brown Body ◽  
Representations Of Women

This chapter argues that the interpretation of games like Bayonetta, Portal, and Tomb Raider rests on an implementation of the theory of the male gaze that isolates visuality from a greater context of computation, procedure, race, and history. It challenges the prevailing interpretations of Chell as “good” and Bayonetta as “bad” representations of women in video games. First, it situates the struggle between Chell and GLaDOS as an antifeminist one in which the player uses the power of the gaze, located in Chell’s voiceless brown body, to subdue the powerful bodiless voice of GLaDOS. This reduces Chell, a brown woman who is the test subject of a scientific experiment, to an instrument of patriarchy. On the other hand, Bayonetta, who is widely criticized as a hypersexual fantasy figure, performs what micha cárdenas calls queer femme disturbance, an excessive performance of femininity that disrupts heteronormative and patriarchal power. These two women offer more context to the case of Lara Croft, who has become more violent and less sexy over the years, and who has ascended to the position of brutal white colonizer while courting a feminist audience.

scholarly journals Pink purchasing: Interrogating the soft power of Japan’s kawaii consumption

2021 ◽  
pp. 146954052110138
Author(s):  
Shiri Lieber-Milo
Keyword(s):  
Soft Power ◽  
Cross Sectional Study ◽  
Japanese Women ◽  
Emotional States ◽  
Cross Sectional ◽  
Younger Women ◽  
Female Consumers ◽  
Consumption Culture ◽  
Study Results ◽  
And Behavior

In Japan, high value and appreciation is ascribed to anything that features the physical characteristics considered to be kawaii (roughly translated as cute in English), particularly infants. As such, kawaii plays a significant role in Japanese popular consumption culture, especially for female consumers. This article applies mixed methods, including review of literature, questionnaires conducted among 692 Japanese women of varying ages and social status, and interviews with 12 Japanese company female employees to investigate perceived positive affective aspects associated with kawaii products, including their impact on emotional states and behavior. The cross-sectional study results reveal the importance of kawaii among Japanese women and positive aspects in consuming kawaii items; for working women, it was found that kawaii products help in dealing with stress and serve as a momentary gateway from the harsh world of everyday life to a romanticized world of one’s childhood and for younger women serve as a fashion statement.

scholarly journals Female Gaze pada Film “Lady Bird”

2020 ◽  
Vol 5 (1) ◽  
pp. 8
Author(s):  
Fathin Hanifah Langga
Keyword(s):  
Male Gaze ◽  
Box Office ◽  
Female Gaze

Film box office Lady Bird mendapatkan banyak penghargaan dan review positif dari para kritikus.  Hal menarik yang dapat dibahas dari film Lady Bird adalah mengenai female gaze. Menganalisis dengan membandingkan teori Laura Mulvey mengenai female gaze dan male gaze melalui fenomena yang terdapat pada film Lady Bird yang menceritakan kehidupan seorang remaja perempuan pada umumnya. Image perempuan dalam film Lady Bird tidak tampak sebagai sebuah objek melainkan sebuah subjek, gaya pemeran perempaun dalam film Lady Bird tampil kuat, ambisius dan optimis. Lady Bird membuktikan bahwa teori Mulvey tentang dunia patriarkal tidak permanen dan tidak wajib.

Visual pleasure from motherhood: Alyssa Milano challenging the male gaze

2018 ◽  
Vol 40 (8) ◽  
pp. 1281-1291 ◽  
Author(s):  
Raeann Ritland
Keyword(s):  
Visual Design ◽  
Male Gaze ◽  
Dominant Culture ◽  
Male And Female ◽  
Visual Elements ◽  
Female Gaze ◽  
Visual Pleasure ◽  
Mixed Responses ◽  
Male Dominated ◽  
Representations Of Women

Using male and female gaze theories as frameworks, this article analyzes the visual design and composition of four distinct breastfeeding (BF) photographs posted by Alyssa Milano to her Instagram in order to better understand the public’s mixed responses of support and criticism. I argue that Milano borrows visual elements from the male gaze and combines them with feminine content in an attempt to (1) challenge the dominant, patriarchal norm of deriving pleasure from viewing sexualized women and (2) instead encourage an understanding of the maternal woman as visually pleasing. In turn, Milano’s message supports the normalization of public BF. Milano’s position as firmly entrenched in the male-dominated world of television and film is key: it enables her to speak and promote change from within the system, for external oppositions often remain on the outside, as counterpoint. Using Instagram promotes this as well. Rather than dilute their power, intermingling BF images with those representing the dominant culture may prove more successful for its gradual progression to normalization. The end goal, of course, is to encourage not just acceptance but a sense of pleasure in seeing feminine representations of women, including those focused on aspects of motherhood, like BF.

scholarly journals Female Gaze pada Film “Lady Bird”

2020 ◽  
Vol 5 (1) ◽  
pp. 8
Author(s):  
Fathin Hanifah Langga
Keyword(s):  
Male Gaze ◽  
Box Office ◽  
Female Gaze

Film box office Lady Bird mendapatkan banyak penghargaan dan review positif dari para kritikus.  Hal menarik yang dapat dibahas dari film Lady Bird adalah mengenai female gaze. Menganalisis dengan membandingkan teori Laura Mulvey mengenai female gaze dan male gaze melalui fenomena yang terdapat pada film Lady Bird yang menceritakan kehidupan seorang remaja perempuan pada umumnya. Image perempuan dalam film Lady Bird tidak tampak sebagai sebuah objek melainkan sebuah subjek, gaya pemeran perempaun dalam film Lady Bird tampil kuat, ambisius dan optimis. Lady Bird membuktikan bahwa teori Mulvey tentang dunia patriarkal tidak permanen dan tidak wajib.

A cure for woundless pain

2021 ◽  
Author(s):  
Yasheng She
Keyword(s):  
Consumer Product ◽  
Male Gaze ◽  
Female Agency ◽  
Animated Film ◽  
Cultural Construct

Abstract As a cultural construct, the idol is a consumer product created to “heal” in the age of exhaustion. Layering a “guardian” aspect onto Laura Mulvey’s “male gaze,” this paper contextualizes the commodification and consumption of innocence. This paper brings the documentary, Tokyo Idols (2017), and the animated film, Perfect Blue (1997), into a conversation to theorize how femininity is constructed and commodified in Japan’s pop idol industry. The idol culture consumes innocence only to create more trauma for women by stressing the arbitrary importance of innocence and sacrificing female agency in the process.

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