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.
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To set a reading intention, click through to any list item, and look for the panel on the left hand side:.
Your reading intentions are private to you and will not be shown to other users. If you originally registered with a username spectatlr use that to sign in. Email alerts New issue alert. Can women be spectators? Jean Rouch and the camera eyewitness.
Film and the Masquerade: Theorizing the Female Spectator
Here’s an example of what they look like: She is too close to achieve voyeuristic pleasure from gazing at a female object on screen. You are commenting using your Twitter account. To purchase short term access, please sign in to your Oxford Academic account above. 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. To the male viewer the gaze will feel foreign and invasive, but it will resonate with the female viewer.
She cannot separate herself from the image that represents her. An uncommon attribute of this film is that it allows the spectator, male or female, to occupy the feminine and masculine gaze in close proximity. Your reading intentions are also stored in your profile for future reference.
Notes on Mary Ann Doane’s “Film and the Masquerade'”
Have you read this? As opposed to male transvestism which is an occasion for ridicule female transvestism is a path towards desire. The male strip tease or gigolo are not unknown to modern cinema or culture. Sign in via your Institution Sign in. Email required Address never made public. That is because we have felt the weight of that same gaze, and there is nothing pleasurable about it in the context Clarice experiences it.
Doane Study Guide
Approaches to Art History Section: So what does Doane offer us? Leave a Reply Cancel reply Enter your comment here Setting up reading intentions help you organise your femalf reading.
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Film and the Masquerade: Theorising the Female Spectator | Screen | Oxford Academic
Setting a reading intention helps you organise your reading. Please log in to set a read status Setting a reading intention helps you organise your reading. Written by deadrabbit92 Leave a comment. Woman, on the other hand, are taught the same masculine form of language as man, theorizinf therefor cannot possibly identify femininity as a separate entity.
Men already achieve the distance required from the image and as a result can fetishize it. You could not be signed in. Have you read this? To set a reading intention, click through to any list item, and look for the panel on the left hand side:.
This relates to transvestism that Doane discusses earlier in the article. Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC.
Doane then builds upon the psychoanalytic work of Joan Rivierewho 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. She does this in order to downplay her transgression and her castration threat.
Follow Blog via Email. Film Culture, Theory, Entertainment Section: In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship. Without question, a protagonist like Clarice Sterling exists to always be desired, by the male and female spectator alike.
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