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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In this scenario, Clarice is powerless and cannot return the gaze, whether she knows she is being watched or not.

This site uses cookies. About Media and Commentary Reading Assignments! She can never assume the role of the female spectator without this distance. 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 comfortably look at Clarice as a desirable object.

Receive exclusive offers and updates from Oxford Academic. Email required Address never made public. Film distribution in Greece: She posits three modes for female spectatorship:. Theorizing spectafor Female Spectator. Here’s an example of what they look like: To set a reading intention, click through to any list item, and look for the panel on the left hand side:. By continuing to use this website, you agree to their use.

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

You must be logged in to post a comment. Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC.

You are commenting using your Twitter account. Have you read this? To the male viewer the gaze will feel foreign and invasive, but it will resonate with the female viewer. An uncommon attribute of this film is that it allows the spectator, male or female, to occupy the fil and masculine thf in close proximity. Film and the Masquerade: Here’s an example of what they look like:.

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

As Irigaray discusses, a problem is language. A man can partially examine himself and successfully define himself in the realm of his language. Email alerts New issue alert. In other words, to gaze at the object is to gaze at herself.

Here’s an example of what they look like: Article PDF first page preview. Without question, a protagonist like Clarice Sterling exists to always be desired, by the male and female spectator alike.

Theorising the Female Spectator Digitised. She is too close to achieve voyeuristic pleasure from gazing at a female object on screen. This item appears on List: Fill in your details below or click an icon to log in: Please log in to set a read status.

Film and the Masquerade: Theorizing the Female Spectator

It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. To find out more, including how to control cookies, see here: Your reading intentions are also stored in your profile for future reference. Oxford University Press is a department of the University of Oxford. Youth Cultures and Feminist Politics Previous: Citing articles via Web of Science 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.

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You are commenting theoriziing your Facebook account. Close mobile search navigation Article navigation. Setting a reading intention helps you organise your reading.

All of Doane’s arguments depend upon the spectator’s ability to achieve a critical distance from the onscreen image of woman. Body, Gender and Repub 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 of progress.

Jean Rouch and the camera eyewitness. Film and the Masquerade: