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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Film and the Masquerade: Theorizing the Female Spectator

What the spectator sees. Receive exclusive offers and updates from Oxford Academic. Theorising the Female Spectator Digitised. Please log in to set a read status Setting a reading intention helps you organise your reading.

The choice of extreme close up shots of Clarice intercut with her POV of the men gawking at her establishes yhe feminine gaze that spectators have no choice but to assume.

This excess of femininity highlights how femininity is but a msquerade gendered performance, not an innate structure. Body, Gender and Repub Your reading intentions are private to you and will not be shown to other users. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide.

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

This article is also available for rental through DeepDyve. 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: It makes it easy to scan through your lists and keep track tue progress.

This site uses cookies. Setting up reading intentions help you organise your course reading. You are commenting using your Twitter account. Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC.

Doane argues that women can wear superficial attributes of femininity as a mask masqueradetheorizinh a disguise to be taken-on or rejected. Youth Cultures and Feminist Politics Previous: The male strip tease or gigolo are not unknown to modern cinema or culture.

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As Irigaray discusses, a problem is language. 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 masqurrade look at Clarice as a desirable object.

Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above. Email alerts New issue alert. Theorizing the Female Spectator. Film distribution in Greece: By continuing to use this website, you agree to their use. Mary Ann Doane; Film and the Masquerade: Article PDF first page preview.

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Distance masqueradw the image is ‘good’ while proximity to the image is ‘bad. Please log in to set a read status Setting a reading intention helps you organise your reading. You can filter on reading intentions from the listas well as view them within your profile. Soviet cinema and the fantasy of no limits. To set a reading sectator, click through to any list item, and look for the panel on the left hand side:. Film Culture, Theory, Entertainment Section: You do not currently have access to this article.

She is too close to achieve voyeuristic pleasure from gazing at a female object on screen. Setting a reading intention helps you organise your reading. This relates to transvestism that Doane discusses earlier in the article.

Without this distance, it is impossible for a woman to become a spectator of a masquerae image in film. Written specator deadrabbit92 Leave a comment.

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

Men already achieve the distance required from the image and as a result can fetishize it. Here’s an example of what they look like: Sign in via your Institution Sign in. A man can partially examine himself and successfully define himself in the realm of his language.