The Female Gaze Beyond Italy

2021 ◽  
pp. 135-162
Author(s):  
Katharine Mitchell
Keyword(s):  
Female Gaze

Who in Heaven?: Tracey Moffatt: Men in Wet-Suits and the Female Gaze

2003 ◽  
Vol 33 (1) ◽  
pp. 63-80 ◽  
Author(s):  
Catherine Summerhayes
Keyword(s):  
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.

Expectations: Meek’s Cutoff

2018 ◽  
Author(s):  
E. Dawn Hall
Keyword(s):  
Nineteenth Century ◽  
Foreign Policy ◽  
Aspect Ratio ◽  
Manifest Destiny ◽  
Historical Events ◽  
Native Peoples ◽  
Political Issues ◽  
Female Gaze

This chapter focuses on Reichardt’s genre mixing, slow cinematic techniques, minimalism, neorealism and her use of the “female gaze” as well as “the open image” or “crystal image” as defined by Shohini Chaudhuri and Howard Finn. Reichardt subtly shifts the environmental and political issues highlighted in her prior films back to the nineteenth century debate of Manifest Destiny and its effects on the landscape and native peoples. Based on historical events during the 1845 “terrible trail” tragedy, Meek’s Cutoff explores contemporary political issues of leadership and community by loosely linking Meek’s violence with George W. Bush era torture tactics and foreign policy. In her feminist Western, Reichardt used an aspect ratio of 1:37:1 creating a claustrophobic framing aesthetic and while this echoes the pioneer women’s vision during their long march in the dessert, it also created distribution concerns.

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