The study of film has been going on for several decades. During this time, the focus has been, especially in the 1970s, on looking (the gaze) and the spectator in general. Here in this paper I would like to look at the female also a bit on male gaze in connection with the movies Network and Blow Up. This means I will also consider film theory of the 1970s and 1980s but I want to focus my insight on contemporary spectatorship.
To do this, I will also give a short overview of historical findings and important authors and their theses and how their theses would work in this day and age. However, my intention is to argue that Laura Mulvey’s thesis that the male gaze focuses on female objects only is partly outdated and that she left the female as a passive spectator, which is not true, because nowadays females are more active than males in terms of identification with their favourite stars on the screen. That identification can take on different levels starting with admiration because of looks, talent or taking them as role models which will furthermore end in consumption; may it be fashion, cosmetics or hairstyles.
Table of Contents
I. Relevance 2007
A. Introduction
A.1. Contemporary Relevance
A.2. Related Conferences and Topics
A.3. Main Focus
B. Historical Findings in Film Theory in the 1970s/ 1980s
B.1. Standard Findings (Mulvey 1970s)
B.2. Other Accounts of Spectatorship
II. Contemporary Film Studies
A. Identification: Females Identify with Actresses
A.1. Similarity and Difference
A.2. Star Image
A.3. Imitation and Copying
B. Consumption
B.1. Fashion
B.2. Cosmetics
Media One: Television
Network summary
Sequence Analaysis
Media Two: Photography
Blow Up
Sequence Analaysis
Conclusion
Objectives and Topics
The primary aim of this paper is to challenge the traditional, passive view of the female spectator by demonstrating how identification with screen characters facilitates active cultural consumption. The research explores how the cinematic gaze—historically defined as male—has evolved to include female identification processes that drive consumer behavior in fashion, cosmetics, and broader media engagement.
- Evolution of film theory from 1970s spectatorship to contemporary identification processes.
- The role of the "star image" in fostering emotional bonds and imitative behavior among female audiences.
- Mechanisms of cultural consumption linked to visual media, including fashion and beauty industries.
- Comparative analysis of spectatorship and identification across different media formats (Television vs. Photography/Film).
- Detailed case studies of the films Network and Blow Up.
Excerpt from the Book
A.1. Contemporary Relevance
The contemporary relevance for that topic is that the gaze can be applied not only to heterosexual men but also to gay men and women but also to women in general. Spectatorship cannot simply be defined as male; there are lots and lots of women in the theater auditorium when it boils down to the question of who is in the audience. That is just the same with the process of identification. Not only men identify with the male hero also the females identify with their heroines; but nowadays that identification process has translated into cultural consumption and so filmmaking focusses more and more on making blockbusters with nude scenes, love scenes, etc, which attrack gazes. Generally speaking, scenes that get people into the cinema. The film market has changed to sell a cultural product. These products can be clothes, cosmetics, cars even; any goods to make the identification process, which also involves imitation and copying, easier for the fan or spectator.
Summary of Chapters
I. Relevance 2007: Introduces the research scope, outlining the shift from traditional 1970s film theory to the modern understanding of female spectatorship and its relation to cultural consumption.
II. Contemporary Film Studies: Analyzes the psychological and social factors, such as star identification and imitation, that influence how female audiences consume goods and shape their identity.
Media One: Television: Examines how television addresses the female spectator and analyzes the film Network as a case study for modern media narrative and reality-based programming.
Network summary: Provides a synopsis of the plot and themes of the film Network, focusing on the character arcs within the television news industry.
Sequence Analaysis: Offers a technical breakdown of the cinematic language and visual strategies used in Network to illustrate its thematic concerns.
Media Two: Photography: Discusses the medium of photography in visual culture and how it shapes the spectator's perception and consumption.
Blow Up: Explores the film Blow Up through the lens of photography, voyeurism, and the intersection of visual pleasure and narrative mystery.
Sequence Analaysis: Analyzes the visual sequences of Blow Up, focusing on the photographer's perspective and the construction of eroticism and gaze.
Conclusion: Synthesizes the findings, reaffirming that the female spectator is an active participant in cinema and a significant driver of contemporary cultural consumption.
Keywords
Spectatorship, Male Gaze, Female Gaze, Identification, Cultural Consumption, Film Theory, Network, Blow Up, Star Image, Consumer Behavior, Visual Pleasure, Media Studies, Identity, Imitation, Fashion.
Frequently Asked Questions
What is the core focus of this research paper?
The paper examines the evolution of spectatorship, specifically arguing that female viewers are not merely passive objects of the "male gaze," but active participants who engage in identification processes that influence their consumer choices.
What are the primary thematic areas explored?
The research covers film theory history (specifically Laura Mulvey's influence), the psychological dynamics of star identification, and the practical links between cinema and the consumer industries of fashion and cosmetics.
What is the central research question?
The paper seeks to understand how the process of cinematic identification translates into real-world cultural consumption and how the role of the female spectator has changed since the 1970s.
Which scientific methodology is applied?
The author uses a qualitative approach, combining literature review of established film theory (Mulvey, Stacey, Doane) with comparative media analysis and close-reading sequence analysis of specific films.
What is addressed in the main body of the text?
The main body bridges theoretical frameworks from the 1970s/80s with contemporary case studies, specifically analyzing Network (television) and Blow Up (photography/film) to demonstrate active spectatorship.
Which keywords best characterize this work?
Key terms include Spectatorship, Identification, Cultural Consumption, Film Theory, Visual Pleasure, and Media Analysis.
How does the author redefine the role of the female spectator compared to 1970s theories?
The author argues that while 1970s theory often relegated women to a passive position, modern female spectators are active agents who use screen identification as a form of self-expression and cultural consumption.
What specific role does the "Star Image" play in this study?
The "Star Image" is identified as a critical tool used by the film industry to create emotional bonds, leading audiences to imitate the style, beauty, and identity of stars through commercial products.
How does Network serve as an example of modern television spectatorship?
The author uses Network to illustrate the intersection of reality TV tropes, ambitious career narratives, and the way modern television formats target female audiences to drive ratings and consumption.
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- Magister Anke Werckmeister (Autor:in), 2007, The female/male gaze and its cultural consumption, München, GRIN Verlag, https://www.grin.com/document/202228
