scholarly journals Escaped from the Harem, Trapped in the Orient: An analysis of the multiple gazes in Nadine Labaki’s movie Where Do We Go Now?

1970 ◽  
pp. 87-92
Author(s):  
Anna Kokko
Keyword(s):  
Visual Culture ◽  
Sexual Desire ◽  
Male Gaze ◽  
Modern Times ◽  
Representation Of Women ◽  
The Gaze ◽  
Feminist Discourse ◽  
Broad Array

Throughout history, the majority of artists have been men, and quite often the women in their works have been featured as passive objects of male sexual desire. This sort of one-sided dynamic is ubiquitous; it can be detected in the vast majority of Western nude paintings, and even modern advertisements tend to conform to the same pattern (Berger, 1977). As a consequence, feminist discourse of the representation of women in visual culture has focused on the concept of male gaze. However, the proliferation of images in modern times has given rise to a “broad array of gazes and implied viewers” (Sturken, 2005, p. 87). Women are no longer simply objectified, nor is the business of directing the gaze relegated to solely a male domain.

scholarly journals Dysfunctional Gaze and the Representation(s) of Women in Nuala Ní Chonchúir’s “As I Look”

2019 ◽  
Vol 27 ◽  
pp. 247-258
Author(s):  
Máximo Aláez Corral
Keyword(s):  
Short Story ◽  
Female Body ◽  
Theoretical Framework ◽  
Male Gaze ◽  
Literary Representation ◽  
Representation Of Women ◽  
The Gaze

In this article I intend to analyse Nuala Ní Chonchúir’s short story “As I Look,” from her 2009 collection Nude, in relation to the concept of dysfunction, the representation of the nude female body, and the deconstruction of the conventional male gaze. My analysis will be backed up by a theoretical framework on objectification and will focus on dysfunction in the gaze and representation, and also in narration. I aim at highlighting dysfunction as an instrument to convey a new meaning around the visual/literary representation of women, a more positive and desirable connotation than the “functional” order of the visual norm.

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.

Grains of Resonance: Affect, Pornography and Visual Sensation

Somatechnics ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 351-368 ◽  
Author(s):  
Susanna Paasonen
Keyword(s):  
Visual Culture ◽  
Power Control ◽  
Visual Sensation ◽  
Media Technologies ◽  
The Gaze ◽  
Methodological Challenges

In studies of pornography to date, feminist theorisations of looking have largely focused on issues of power, control and the gaze. Much, however, remains to be said of being impressed by images and sounds beyond conceptualisations of the gaze. This article investigates the possibilities of resonance as an analytical concept in and for addressing affective intensities in encounters with pornography and, with some reservations, with visual culture more generally. The article argues for the need of tactile concepts for tackling the force of images and our myriad ways of engaging with them – not as mere surfaces but as material entities that we are drawn to and impressed by. Rather than defining resonance as impersonal affective potentiality or force, the article addresses it as dynamic encounters between images, media technologies and the particular, historically layered sensoria of the viewing bodies. By doing so, the article explores both connections and differences between theorisations of affect and the methodological challenges that these distinctions pose.

The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media

2021 ◽  
Vol 20 (1) ◽  
pp. 85-112
Author(s):  
Alison Griffiths
Keyword(s):  
New Media ◽  
Visual Culture ◽  
Middle Ages ◽  
Thought Experiment ◽  
Building Blocks ◽  
Roman De La Rose ◽  
The Gaze ◽  
Cinematic Space ◽  
The Rich ◽  
The Middle Ages

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Pop Culture/Visual Culture

2015 ◽  
Author(s):  
Rebecca Wanzo
Keyword(s):  
Visual Culture ◽  
Performance Studies ◽  
Art History ◽  
Film Studies ◽  
Pop Culture ◽  
Gender And Sexuality ◽  
The Gaze ◽  
Feminist Study ◽  
History Of ◽  
And Performance

Feminist scholars in fields as varied as art history, film studies, cultural studies, literary studies, sociology, communications, and performance studies have made important contributions to discussions about representations of gender and sexuality in everyday life. This chapter examines themes and issues in the feminist study of popular culture and visual culture, including: the history of sexist representation; the gendered nature of the “gaze” and the instability of that concept; the question of whether or not representation has effects; the anxieties surrounding consumption of “women’s texts”; and the challenges in deciphering women’s agency and authorship given constraints produced by institutions and ideology.

scholarly journals PRINTING EMPIRE: VISUAL CULTURE AND THE IMPERIAL ARCHIVE IN SEVENTEENTH-CENTURY VENICE

2016 ◽  
Vol 59 (3) ◽  
pp. 635-668 ◽  
Author(s):  
ANASTASIA STOURAITI
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Book History ◽  
Illustrated Books ◽  
Broad Array ◽  
Single Sheet ◽  
Battle Scenes ◽  
The Military ◽  
The Impact ◽  
The Relationship

ABSTRACTThis article analyses the relationship between imperial expansion and popular visual culture in late seventeenth-century Venice. It addresses the impact of the military on the marketplace of print and examines the cultural importance of commercial printmaking to the visualization of colonial motifs during the 1684–99 war with the Ottoman Empire. Through a broad array of single-sheet engravings and illustrated books encompassing different visual typologies (e.g. maps, siege views, battle scenes, portraits of Venetian patricians, and representations of the Ottomans), the article re-examines key questions about the imperial dimensions of Venetian print culture and book history. In particular, it shows how warfare and colonial politics militarized the communication media, and highlights the manner in which prints engaged metropolitan viewers in the Republic's expansionist ventures. In so doing, the analysis demonstrates how the printing industry brought the visual spectacle of empire onto the centre stage of Venetian cultural life.

scholarly journals Tarsila do Amaral and Glete de Alcântara: history in art and photography

2020 ◽  
Vol 73 (2) ◽  
Author(s):  
Rafael Alcantara de Camargo ◽  
Luciana Barizon Luchesi ◽  
Fernando Porto ◽  
Mercedes Neto ◽  
Adriana Saturnino Mazziero ◽  
...  
Keyword(s):  
Visual Culture ◽  
Historical Perspective ◽  
Professional Life ◽  
Representation Of Women ◽  
Relationship Networks ◽  
Two Phases

ABSTRACT Objectives: to analyze the canvas “Retrato de Glete de Alcântara” (freely translated as Portrait of Glete de Alcântara) and discuss the effect of the canvas for Tarsila do Amaral and for Brazilian nursing. Methods: a study in the historical perspective, in the field of visual culture, with analysis in two phases: pre-iconography and iconography. Results: Tarsila do Amaral brings up the woman Glete de Alcântara without the attributes that identify nursing. In this sense, the representation of women on the canvas is a person aligned with the hairstyle of her time, elegantly dressed, with seriousness and haughtiness accentuated by a fixed and directed look. Final considerations: an attempt was made to advance beyond Glete de Alcântara’s professional life and her portrayed relationship networks, as well as to approach Tarsila do Amaral’s trajectory, beyond the aesthetics and recognition gained.

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.

Shop Signs and Visual Culture in Republican Beijing

2007 ◽  
Vol 6 (1) ◽  
pp. 103-128
Author(s):  
Feng Yi
Keyword(s):  
Visual Culture ◽  
Material Culture ◽  
Visual Language ◽  
Capital City ◽  
Urban Setting ◽  
Republican Period ◽  
The Gaze ◽  
Visual Record ◽  
The City ◽  
Textual Records

AbstractDuring her stay in Beijing (1933–1946), Hedda Hammer (later known as Hedda Morrison) made a visual record of shop signs with her camera. In this paper I rely on this visual record to examine what shop signs represented in Chinese material culture and their function in the urban setting. I argue that Morrison's photographic record reveals a fascinating element of street culture in the capital city that the textual records cannot document. I also contend that shop signs worked as genuine urban markers of the various trades and crafts in the city. As such, these artefacts constituted an expression of Chinese material culture, but were also a form of visual language to guide the gaze and pace of Beijing urbanites. This paper supports the idea that photographs have a particular relevance and value for the exploration of the Chinese urban setting in the Republican period. The use of photography goes beyond the record of disincarnated artefacts. It allows us to perceive and understand a fascinating dimension of visual culture in Republican Beijing, one of the numerous layers of signs that were displayed quite extensively through the city.

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