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my intention is to argue that Laura Mulvey’s thesis that the male gaze focuses on female objects only is partly outdated and that she left the female as a passive spectator, which is not true, because nowadays females are more active than males in terms of identification with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.
Inhaltsverzeichnis (Table of Contents)
- I. Relevance 2007
- A. Introduction
- A.1. Contemporary Relevance
- A.2. Related Conferences and Topics
- A.3. Main Focus
- II. Contemporary Film Studies
- B. Historical Findings in Film Theory in the 1970s/ 1980s
- 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 Analysis
- Media Two: Photography
- Blow Up
- Sequence Analysis
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
The objective of this paper is to demonstrate that the male/female gaze in film serves not only for audience identification with characters but also as a tool for driving cultural consumption. The paper argues that female identification with actresses often translates into consumer behavior, impacting markets for fashion, cosmetics, and other products. The analysis uses the films Network and Blow Up as case studies, exploring how these films utilize the gaze to influence viewers across different media (television and photography).
- The male and female gaze in film and its impact on spectatorship.
- The role of identification with film characters in driving consumer behavior.
- The relationship between film production, audience engagement, and market forces.
- An examination of the evolution of film theory related to the gaze, from the 1970s to contemporary film analysis.
- The use of different media (television and photography) to analyze the concept of the gaze.
Zusammenfassung der Kapitel (Chapter Summaries)
I. Relevance 2007: This introductory chapter sets the stage for the paper by discussing the contemporary relevance of the male/female gaze in film. It highlights how the concept of spectatorship has expanded beyond a solely male perspective, acknowledging the active role of female viewers and their identification with female characters. The chapter also connects this identification to cultural consumption, explaining how the film industry utilizes this connection to create blockbusters that appeal to a wide audience, thereby influencing consumer behavior in various markets. The inclusion of related conferences on film, television, and media consumption further contextualizes the paper's focus on these interlinked themes.
II. Contemporary Film Studies: This section delves into the historical development of film theory concerning the gaze, primarily focusing on Laura Mulvey's work and its limitations. While acknowledging Mulvey's influential thesis on the male gaze, the chapter argues that her perspective is partially outdated, failing to fully acknowledge the active role of female spectators in identification and subsequent consumption patterns. The chapter goes on to explore how female identification with actresses manifests in various forms of consumption, such as fashion and cosmetics, highlighting the interplay between cinematic representation and consumer behavior. The exploration of similarity, difference, star image, and imitation/copying within this context builds a strong foundation for the subsequent media analyses.
Media One: Television (Network): This section analyzes the television film Network, examining how the female gaze and its implications are presented within the television medium. While specific details about the sequence analysis are absent, the summary suggests that the chapter likely explores the ways in which the female protagonist, Diana, as a young and ambitious journalist, invites both male and female identification and desire projection from viewers.
Media Two: Photography (Blow Up): This section focuses on the film Blow Up, using the medium of photography to further explore the male and female gaze. The chapter likely uses the film's narrative to illustrate how both male and female desires can be simultaneously satisfied through identification with the characters. The presence of both protagonists in a state of undress suggests the analysis examines how this visual element contributes to the dynamics of the gaze and identification.
Schlüsselwörter (Keywords)
Male gaze, female gaze, spectatorship, film theory, cultural consumption, identification, imitation, fashion, cosmetics, media, television, photography, Network, Blow Up, Laura Mulvey, consumer behavior, visual pleasure.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main objective of this paper?
The paper aims to demonstrate that the male/female gaze in film not only facilitates audience identification with characters but also drives cultural consumption. It argues that female identification with actresses often leads to consumer behavior impacting markets for fashion, cosmetics, and other products.
What are the key themes explored in this paper?
The key themes include the male and female gaze and its impact on spectatorship; the role of identification with film characters in driving consumer behavior; the relationship between film production, audience engagement, and market forces; an examination of the evolution of film theory related to the gaze; and the use of different media (television and photography) to analyze the concept of the gaze.
Which films are used as case studies, and why?
The films Network and Blow Up serve as case studies. They are analyzed to explore how the gaze is utilized to influence viewers across different media (television and photography).
How does the paper address historical film theory, particularly Laura Mulvey's work?
The paper acknowledges Laura Mulvey's influential thesis on the male gaze but argues that her perspective is partially outdated, failing to fully account for the active role of female spectators in identification and consumption patterns.
What aspects of consumer behavior are examined in relation to the gaze?
The paper examines how female identification with actresses manifests in various forms of consumption, particularly fashion and cosmetics, highlighting the interplay between cinematic representation and consumer behavior.
How are television and photography used in the analysis?
The paper uses Network (television) and Blow Up (photography) to analyze how the female gaze and its implications are presented across different media, exploring how these films utilize the gaze to influence viewers.
What is the structure of the paper?
The paper is structured into sections covering the relevance of the topic (including contemporary context and related conferences), contemporary film studies (including historical perspectives on the gaze), and detailed analyses of Network and Blow Up, concluding with keywords summarizing the key concepts.
What are the key takeaways from the chapter summaries?
The chapter summaries highlight the contemporary relevance of the male/female gaze, the evolution of film theory surrounding the gaze, and how both Network and Blow Up illustrate the interplay between the gaze, identification, and consumer behavior across different media.
What are the keywords associated with this paper?
The keywords include male gaze, female gaze, spectatorship, film theory, cultural consumption, identification, imitation, fashion, cosmetics, media, television, photography, Network, Blow Up, Laura Mulvey, consumer behavior, and visual pleasure.
What is the overall argument of the paper?
The overall argument is that the male/female gaze in film is a powerful tool not only for audience identification but also for driving cultural consumption, particularly among female viewers who identify with actresses and subsequently engage in consumer behavior related to fashion, cosmetics, and other products.
- Citation du texte
- Magister Anke Werckmeister (Auteur), 2007, The female/male gaze and its cultural consumption, Munich, GRIN Verlag, https://www.grin.com/document/202228
