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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Leave a Reply Cancel reply You must be logged in to post a comment. She does this in order to downplay her transgression and her castration threat.

Film and the Masquerade: Theorizing the Female Spectator

You are commenting using your WordPress. In other words, to gaze at the object is to gaze at herself. Film and the Masquerade: Leave a Reply Cancel reply Enter your comment here Your reading intentions are private to you and will not be shown to other users. Body, Gender and Repub Distance from the image is ‘good’ while proximity to the image is ‘bad.

Notify me of new comments via email. Men already achieve the distance required from the image and as a result can fetishize it. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. How can woman participate in the role of the spectator and find pleasure in cinema?

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Setting a reading intention helps you organise your reading. What the spectator sees. She posits three modes for female spectatorship:. Setting up reading intentions help you organise your course reading. Email alerts New issue alert. ScreenVolume 23, Issue1 SeptemberPages 74—88, https: Theorising the Female Spectator Digitised. What are reading intentions? You could not be signed in.

The choice of extreme close up shots of Clarice intercut with her POV of the men gawking at her establishes a feminine gaze that spectators have no choice but to assume. Written by deadrabbit92 Leave a comment. It makes it easy to scan through your lists and keep track of progress. To the male viewer the gaze will feel foreign and invasive, but it will resonate with the female spwctator.

Without question, a protagonist masquegade Clarice Sterling exists to always be desired, by the male and female spectator alike. To set a reading intention, click through to any list item, and look for the panel on the theoeizing hand side:. Please log in to set a read status. Can women be spectators? In this scenario, Clarice is powerless and cannot return the gaze, whether she knows she is being watched or not.

Here’s an example of what they look like:. Oxford University Press is a department of the University of Oxford. If she does not iflm herself, the female spectator theorizijg over-identification and narcissism because the spectacle of woman is also herself, a woman. About Media and Commentary Reading Assignments!

If you originally registered with a username please masquerrade that to sign in. 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: This site uses cookies. Have you read this? Mary Ann Doane; Film and the Masquerade: Receive exclusive offers and updates from Oxford Academic.

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

This relates to transvestism that Doane discusses earlier in the article. Film Culture, Theory, Entertainment Section: Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC.

Film tge the Masquerade: Most users should sign in with their email address. Don’t already have an Oxford Academic account?

Here’s an example of what they look like: Please log in theprizing set a read status Setting a reading intention helps you organise your reading. Create a free website or blog at WordPress. Please log in to set a read status. Psychoanalysis and Cinema Jocelyn Contreras. It makes it easy to scan through your lists and keep track of progress.