scholarly journals Male gaze vs female gaze, théâtre public vs séries télévisées ? Portrait comparé du sexisme et du féminisme au sein de deux types de productions culturelles

2017 ◽  
pp. 320-337
Author(s):  
Bérénice Hamidi-Kim
Keyword(s):  
Male Gaze ◽  
Female Gaze

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 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 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.

scholarly journals Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays

2021 ◽  
Vol 9 (7) ◽  
pp. 151-159
Author(s):  
Tamal Ghsoh
Keyword(s):  
Point Of View ◽  
The Body ◽  
Male Gaze ◽  
Male Characters ◽  
Body Activity ◽  
Female Gaze ◽  
Female Figures ◽  
Male Discourse ◽  
The Times ◽  
Set Up

Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala  represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

Jane Austen’s Balls

2016 ◽  
Vol 70 (4) ◽  
pp. 427-447
Author(s):  
Meaghan Malone
Keyword(s):  
Social Interaction ◽  
Male Body ◽  
Male Gaze ◽  
Female Desire ◽  
The Social ◽  
Female Gaze ◽  
Primary Means ◽  
Sexual Power

Meaghan Malone, “Jane Austen’s Balls: Emma’s Dance of Masculinity” (pp. 427–447) Jane Austen’s scenes of dance are at the narrative heart of each of her novels, places where heroine and hero meet and flirt according to rigid prescriptions for chaste courtship. In this essay, I argue that Austen develops her characters’ sexuality within these very conventions, and uses dance as her primary means for sexualized social interaction. Austen’s ballrooms are spaces of intense erotic intimacy, sites that foreground her characters’ bodies and allow women to gaze upon men. This inversion of the male gaze is especially pronounced in Emma (1816), a novel in which the male body is systemically filtered through the eyes of women. Men become objects of female scrutiny in the ballroom as Austen highlights the social and sexual power of the female gaze. The masculine ideal that Austen subsequently creates validates female desire and facilitates reciprocity between Mr. Knightley and Emma: ultimately, each adapts to the other’s expectations of what they “ought to be.”

Taxi! The Modern Taxicab as Feminist Heterotopia

2014 ◽  
Vol 9 (2) ◽  
pp. 213-232
Author(s):  
Anne E. Fernald
Keyword(s):  
Virginia Woolf ◽  
Maximum Power ◽  
Male Gaze ◽  
Real Place ◽  
Critical Relation ◽  
Transitional Mode ◽  
Mode Of Transport ◽  
Woman's Body

The taxicab operated as a crucial transitional mode of transport for bourgeois women, allowing them maximum power as spectators when it was still brave for a woman to be a pedestrian. The writings of Virginia Woolf, which so often depict bourgeois women coping with modernity, form the chief context in which to explore the role of the taxicab in liberating the modern woman. The taxi itself, clumsy and ungendered, encases a woman's body and protects her from the male gaze. At the same time, a woman in a taxi can look out upon the street or freely ignore it. As such, the taxi is a type of heterotopia: a real place but one which functions outside of and in a critical relation to, the norms of the rest of the community.

Light and Sensitivity: Love in the Time of the Daguerreotype

2015 ◽  
Author(s):  
Katarzyna Czeczot
Keyword(s):  
Male Gaze ◽  
History Of Photography ◽  
Sensitive Material ◽  
History Of ◽  
The Subject ◽  
Definition Of ◽  
Relationship Of ◽  
Point Of Departure ◽  
Passive Object

The article deals with the love of Zygmunt Krasiński to Delfina Potocka. The point of departure is the poet's definition of love as looking and reads Krasiński's relationship with his beloved in the context of two phenomena that fascinated him at the time: daguerreotype and magnetism. The invention of the daguerreotype in which the history of photography and spiritism comes together becomes a pretext for the formulation of a new concept of love and the loving subject. In the era of painting the woman was treated as a passive object of the male gaze; photography reverses this scheme of power. Love ceases to be a static relationship of the subject in love and the passive object – the beloved. The philosophy of developing photographs (and invoking phantoms) allows Krasiński - the writing subject to become like a light-sensitive material that reveals the image of the beloved.

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