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.

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Fillm can woman participate in the role of the spectator and find pleasure in cinema? She is too close to achieve voyeuristic pleasure from gazing at a female object on screen. You are commenting using your Twitter account. It makes it easy to scan through maasquerade lists and keep track of progress. Jean Rouch and the camera eyewitness. Have you read this? Please log in to set a read status.

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

Without question, a protagonist like Clarice Sterling exists to always be desired, by the male and female spectator alike. You are commenting using your Facebook account. Doane briefly touches upon the the reversal of the voyeuristic gaze by rendering a male image as an object. Here’s an example of what they look like: Men already achieve the distance required from the image and as a result can fetishize it.

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Here’s an example of what they look like:.

Film and the Masquerade: Theorising the Female Spectator | University of St Andrews

This relates to transvestism that Doane discusses earlier in the article. This item appears on List: About Media and Commentary Reading Assignments! Email alerts New issue alert. Setting a reading intention helps you organise your reading. Setting a reading intention helps you organise your reading.

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: Youth Cultures and Feminist Politics Previous: Body, Gender and Repub She cannot separate herself from the image that represents her.

Film distribution in Greece: Theorizing the Female Spectator. Mary Ann Doane; Film and the Masquerade: This article is also available for rental through DeepDyve. This item appears on List: All of Doane’s arguments depend upon the spectator’s ability to achieve a critical distance from the onscreen image of woman. In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship.

You must be logged in to post a comment. Your reading intentions are private to you and will not be shown to other users.

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 specrator feminine manner.

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Fill in your details below or click an icon to log in: Sign Femqle Forgot password? Approaches to Art History Section: To purchase short term access, please sign in fil, your Oxford Academic account above.

Setting up reading intentions help you organise your course reading. To set a reading intention, click through to any list item, and look for the panel on the left hand side:.

Citing articles via Web of Science Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC. To find out more, including how to control cookies, see here: You could not be signed in. A fmale can partially examine himself and successfully define himself in the realm of his language.

You do not currently have access to this article. She does this in order to downplay her transgression and theorizung castration threat. Please log in to set a read status.

As opposed to male transvestism which is an occasion for ridicule female transvestism is a path towards desire. Psychoanalysis and Cinema Jocelyn Contreras. Article PDF first page preview. The choice of extreme close up shots of Clarice intercut with her POV of the men gawking at her establishes femael feminine gaze that spectators have no choice but to assume.