FILM AND THE MASQUERADE THEORIZING THE FEMALE SPECTATOR PDF

Mary Ann Doane’s essay, “Film and the Masquerade: Theorizing the Female Spectator” attempts to answer some of the questions raised by. Type: Chapter; Author(s): Mary Ann Doane; Page start: ; Page end: Is part of Book. Title: The sexual subject: a Screen reader in sexuality; Author(s). Film and the Masquerade: Theorising the Female Spectator Title: Feminist film theory: a reader; Author(s): Sue Thornham; Date: ; Publisher: Edinburgh.

Author: Gardasar Malakree
Country: Slovenia
Language: English (Spanish)
Genre: Software
Published (Last): 10 March 2016
Pages: 119
PDF File Size: 5.64 Mb
ePub File Size: 1.75 Mb
ISBN: 956-3-75128-460-9
Downloads: 29758
Price: Free* [*Free Regsitration Required]
Uploader: Faell

To set a reading intention, click through to any list item, and look for the panel on the left hand side:.

Notes on Mary Ann Doane’s “Film and the Masquerade'”

Without this distance, it is impossible for a woman to become a spectator of a feminine image in film. This relates to transvestism that Doane discusses earlier in the article.

Here’s an example of what they look like:. A man can partially examine himself and successfully define himself in the realm of his language.

Film and the Masquerade: Theorizing the Female Spectator

How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: She cannot separate herself from the image that represents her.

The choice of extreme close up shots of Clarice intercut with her POV of the men gawking at her establishes a feminine gaze that spectators have no choice but to assume. In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship.

  BRIDGET BRERETON A HISTORY OF MODERN TRINIDAD PDF

You are commenting using your Twitter account. Please log in to set a read status. All of Doane’s arguments depend upon anr spectator’s ability to achieve a critical distance from the onscreen image of woman.

She posits three modes for female spectatorship:. She can never assume the role of the female maequerade without this distance. To find out more, including how to control cookies, see here: To the male viewer the gaze will feel foreign and invasive, but it will resonate with the female viewer. Sign in via your Institution Sign in.

Film and the Masquerade: Theorising the Female Spectator | Screen | Oxford Academic

As opposed to male transvestism which is an occasion for ridicule female transvestism is a path towards desire. Written by deadrabbit92 Leave a comment. Film and the Masquerade: Doane argues that women can wear superficial attributes of femininity as a mask masqueradeas a disguise to be taken-on or rejected. She does this in order to downplay her transgression and her castration threat. Oxford University Press is a department of spectstor University of Oxford.

How can woman participate in the role of the spectator and find pleasure in cinema? Doane then builds upon the psychoanalytic work of Joan Riviereyhe observed in case studies that when a successful woman usurps male power the phallusshe compensates for that transgression by behaving in an overly feminine manner.

In a scene such as the one where Clarice is left alone in a room full of male officers, it is clear that men cannot comfortably look at Clarice as a desirable object.

Soviet cinema and the fantasy of no limits. This site uses cookies.

  ASESINATO EN LA CALLE HICKORY PDF

Doane briefly touches upon the the reversal of the voyeuristic gaze by rendering a male image as an object. Don’t have an account? Close mobile search navigation Article navigation. Notify me of new comments via email. You must be logged in to post a comment. By continuing to use this website, you agree to their use. If you originally registered with a username please use that to sign in.

How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: Setting up reading intentions help you organise your course reading. Jean Rouch and the camera eyewitness. This excess of femininity highlights how femininity is but a hyperbolic gendered performance, not an innate structure.

Here’s an example of what they look like:. Citing articles via Web of Science Follow Blog via Email. Your reading intentions are also stored in your profile for future reference.

Have you read this? Leave a Reply Cancel reply You must be logged in to post a comment. Film and the Masquerade: Setting up reading intentions help you organise your course reading. Theorising the Female Spectator Digitised.

Men already achieve the distance required from the image and as a result can fetishize it.