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Male Gaze Essay - Grade: 2:1

An essay of which discusses the viewpoint of the male gaze theory and...

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Feminist Film Criticism

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Assignment Cover Sheet College of Liberal Arts Writing, Film and Digital Creativity

To be completed by the student and submitted with each piece of work:

Module Name: Power, Pleasure and Feminist Film Theory

Module Code: MC

Assignment Title: 3750 Word Essay

Marking Tutor: Dr. Rebecca Feasey

Student Name: Faye Oakenfold

Student Number: 320884

In submitting this assignment, I am confirming that I have read and understood the regulations for assessment, and I am aware of the seriousness with which the University regards unfair practice.

Date of Submission: 14/12/

Student Signature: Faye Oakenfold

Critically examine the ways in which the power of the male gaze is renegotiated in Hollywood cinema to reveal the underlying control exercised by the object of the gaze.

Introduction

There is a belief that the stripper film genre is able to confound the traditional ideal of voyeurism within both the narrative as well as in the viewing audience (Atwood, 2017:53), however the spectator position which is produced by the film narrative is primarily viewed as a masculine one (Stacey 48:1987). The typical ideology influencing this viewing structure produces definitive distinction between gender in order to deliver secure symbolic identities for both the male and female sex (Neroni, 2005;18), although it can be argued that gender conventions have become blurred, and that in modern cinema women are now more likely to be defend themselves seek revenge, acting out violent tendencies often associated with masculinity (King and McCaughhey, 2002:2) but not without restriction in terms of fetishization. According to Laura Mulvey the separation between the sexes makes function of the ‘women’ to be in dispute with the ‘man’ of which is constantly used as a narrative signifier in films, and sexual personification of ‘active’ or ‘passive’ elements in a story (Mulvey, 1989:35). The term ‘femininity’ is associated with passivity, and Hollywood cinema is based on voyeuristic and fetishtistic forms of looking. Due to the ways that these looks are structured, the spectator identifies with the protagonist in the narrative, therefore leading to the objectification of the female figure via the male gaze (Mulvey, 1975:7).

I shall consider the works of a number of theorists, however will specifically emphasise Laura Mulvey’s, 1975 psychoanalytic feminist film article, ‘Visual Pleasures and Narrative Cinema’ in an attempt to establish the initial outlook of voyeurism and objectification faced by women in film. I will examine how the notion of the ‘male gaze’ has been received by theorists such as Feona Atwood who disagrees with the notion of control and power on behalf of the male gaze, claiming that the sense of voyeurism can be renegotiated in such a way it can prove beneficial to the female gender, specifically within Stripper films.

Male Gaze

Sigmund Freud introduces the word masculine as ‘conventional’ in Analysis Terminable and Interminable (1964) evidently resulting in an established social-linguistic practice, whilst at the same time conforming to the ‘masculine point of view’; however this statement does pose

exhibited as a sexual object for his pleasure (Stacey, 1987:48). The look of the male character pushes the narrative forward, and the use of identification implies a sense of sharing of power within his active look (Stacey, 1987:49). David Rodowick claims that in Mulvey’s thesis, the discussion of the female figure is restricted to its function as a masculine object-choice. The feminine is only disclosed as an object, of which structures the masculine look according to the forms of active voyeurism and passive fetishism (Rodowick, 1982:8). The monuments process of repression determines the fortunes of a woman’s femininity (Freud, 1964:375) within cinema.

Strippers on Screen Mulvey talks about the showgirl in Visual Pleasure, explaining how strippers are the focus of the feminine value of “to-be-looked-at-ness” whilst in their conventionally exhibitionist role, of which women are “simultaneously looked at and displayed with their appearance” in regards to having a strong visual and erotic impact to ensure attention is held by them (Mulvey 1975:62). Therefore high heeled shoes, or leather bustiers, or any other related fetish, inadvertently represents a symbolic phallic adornment (ibid). This concept is prominent in a specific dockyard scene in Striptease (1996) where the central character, a stripper named Erin (Demi Moore) climbs out of a car and there is a close up on her glossy red high heels, of which symbolise the phallic form. The striptease dance itself, is a ritualized spectacle performed for male scopophilic interests whereby the ultimate revelation both exposes what is not there-evidencing the absence of a penis and eroticizes the female body itself as a phallic substitute (Mulvey 1975:62) Freud argued that femininity is complicated by the fact that it emerges out of prominent differences between the sexes, a period he views as masculine and phallic (Freud 1964:42).

Stripper movies, more so than any other genre lay bare these obvious, traditional relationships of the sexes, of where men watch and do, whilst women are watched and done to (Atwood, 2017: 53), however, Brian McNair does acknowledge that the ‘men-in-crisis’ disposition held in the 1990’s was the first time that mainstream Hollywood cinema presented ‘stripping’ as being something that men also partook in, often reluctantly at first, before enjoying being the performer, despite being objectified hands of their female onlookers (McNair, 90:2002). Since then, men have openly been portrayed as being strippers in films such as The Full Monty (1997) and Magic Mike (2012), where women have a sense of voyeuristic power. Although, Linda Ruth Williams believes that women’s bodies have to

be centre-stage in sexual genres such as stripper films (Williams, 342:2005). Feona Atwood claims that unlike many cinematic genres, voyeurism is not looked upon in a negative light in stripper films (Atwood, 2017:60), so it may benefit women continuing to be known as the sole focus of the genre, as according to Atwood the fetishization of these performing women is able to connect directly with the punishment of the male voyeur (Atwood, 2017:60). This viewpoint can be referenced back to D Rodowick, who argues that the masculine look contains passive elements that indicate submission rather than possession of the female (Rodowick 1982:7). However, Brian McNair argues that the development of striptease culture has now accepted that there are audience members who are voyeuristic, and they are somewhat comfortable adopting the position of ‘spectator’ (2002:89). Both the films audience and the male characters appearing onscreen enjoy the sadistic, voyeuristic gaze they are able to possess over the performing strippers (Mulvey 1975, cited in Sullvian and Mckee, 2015:6). Joan Mason Grant believes these voyeuristic tendencies render the performer ‘two- dimensional’, therefore objectified and entirely dehumanized (2004:125). Again, this is a factor prevalent in the Erin’s attire in Striptease, as though her skin is initially covered up, shortly after it is shown to reveal that she is scantily dressed, with the camera panning over her outfit. This represents the act of objectification through voyeuristic inclinations (ibid)

Despite these voyeuristic tendencies initially seen as being held by a ‘masculinisation’ point of view, in Afterthoughts of Visual Pleasure and Narrative cinema Laura Mulvey appears to question how the female viewer perceives the action on screen. (Mulvey 1989:31). She considers to whether the female spectator is merely carried along, or whether her pleasure can be recognised as more deep routed and complex, discussing the ‘melodrama’ issue, how the films and its identifications are affected by a female protagonist occupying the focus of the narrative. It is always possible that the female spectator may find herself so out of place with the pleasure on offer, that its ‘masculinisation’ that the fascination is diminished (Mulvey 1989:31). However, Mulvey does acknowledge that the female viewer may find herself instinctively relishing in the freedom of action and control over the diegetic world that identification with a hero provides (Mulvey 1989:31). Whereas Elizabeth Cowie claims that Hollywood has represented and played to women’s pleasure in looking consistently throughout the years, specifically their gaze at men (1997:132) of which challenges “the assumption that the construction of woman, of her image, of her desire, is always for the masculine spectator” (Cowie, 1997:133). On the other hand, Christian Metz argues that the

either 'masculine' or 'feminine'. (Hills, 1999:39).Feona Atwood claims that Women are no longer reduced to the symbolic position of substitutes for the male viewers, as mere "men in drag." (2017:53). In fact, in the case of stripper-revenge, which is very similar to slasher and rape-revenge, the with deniability of the central character's femaleness is absolutely essential to the story (Atwood, 2017:57). When the strippers, so clearly marked as women and as sexual spectacles, take up arms against their assailants, they are not enacting masculinity (ibid). Ben Singer seconds this thought, claiming despite cinema’s best intentions, the depiction of female power eventually self-consciously dissolves, and on occasion completely reverses as the heroine inevitably appropriates a variety of ‘masculine qualities, competencies and privileges (2001:224), with Mulvey extenuating this point claiming that women are torn between passive femininity and repressive masculinity (1975:32).

Taking a step back from the psychoanalytic theory, Sherri Inness argues that images of tough women in popular media have gotten tougher, although their strength continues to be plagued and downtrodden by weakened feminine attributes, attractive physiques and a dependence on men (Innes, 32:1999). The depiction of a violent woman upsets this association of violence with masculinity (Neroni, 2005:19) but action films have permitted women to be both violent

which is associated typical masculine tendencies – as well as having beauty and being heavily sexualised, conventions of which accompany traditional femininity (Coon, 2:2005). With the lines gender identity have becoming blurred, both male and female subjects begin to question, rather than invest themselves in symbolic identities (Coon, 2:2005). The flexibility regarding gender roles has changed cinematic representations of women in the action film, however often within the feminist film theory, heroines are described as ‘pseudo males’ or as being not ‘really’ women (Hills, 1999:38). As, if there is one characteristic that defines masculinity in all of its entirety in the cultural imagination, it is violence (Neroni, 2005:19). Inness claims that popular media remains incredibly ambivalent in regards to the depiction of tough women, therefore ensure that they do not challenge gender conventions too dramatically (Inness, 1999:36). Male anxiety is heightened as ‘women’ have been assigned a place, of where they have stubbornly resisted their subordination, continuously threatening to step outside the defined limits. (Campbell, 4:2005). The development threatens the social order, and popular culture often responds by creating cultural images that work through, and contain this destabilization (Neroni, 2005:19). The ‘male’ independent woman derisive of the insincerity of the system, she poses a threat to that society (Campbell, 2005:4), and according to Laura Mulvey, must be tainted with feminine attributes in regards to her concept of

‘castration’, the women are presented in a such a fetishized way, she becomes comforting, rather than dangerous. (1975: 13–14).

Power/Victims

Regarding a more textual approach to stripper movies, the genre often focuses on avenging women (Atwood, 2017:55) and is prepared to view the performing women as feisty, independent individuals rather than exploited victims (McNair, 90:2002). This again, is prevalent in the docking scene in Striptease as Erin’s wit shown in the brief conversation with David Dilbeck’s security guard when asked if her name is “Miss Brant?” with the response “No, I’m Barbra Bush” of which echoes Brian McNair’s deduction that performing women are feisty, which is echoed in her exchange with David Dilbeck (Burt Renolds) as she refuses to be victimised by him (ibid). With this in mind, it is also acknowledged by Barbara Creed that women do not have a particular force to ensure that they act like a man, as the heroine is usually represented as both intelligent and dangerous with no need to imitate a man (Barbara Creed 127:1993). These films focus less on victimhood than on the subversion of that hallmark of femininity (King and McCaughhey, 2002:2). However, Inness claims that in cinema, women do not naturally become tough, not as men do (1999:32). Instead, often a memory of extreme violence drives women to become strong (Inness, 1999:32) often due to sexual assaults, of which encourage the introduction of femme fatale figures (Sullivan and McKee, 2015:36).

The central story line of the stripper-revenge films are parallel to the narrative found in the rape-revenge films, where the woman is terrorized by a problematic male figure, and when no one else offers her help, she must take revenge herself, with a “triumphant self-rescue in the final moments of the film (Lehman, 1992:111). Yvonne Tasker claims that this movement from victim to vigilante, ensures that the rape/revenge scenario foregrounds concerns of female sexuality, point of view and the law (Tasker, 109:1992). Carol Clover claims that the event that often prompts the heroines transition is the recognition of how vulnerable the female body is, which is frequently expressed through the ordeal of rape (Clover, 1992:123). These assaults are used to literalise the sexual implications of penetration by weaponry, such as a knife or a bullet to which the male hero is continuously subject to in the genre (ibid) In regards to weaponry, Clair Henry touches on Carol Clover’s concept, claiming often after a sexual assault takes place, red lipstick and fetishized costumes are introduced to symbolise

taking revenge (Clover, 1992:123). Though, there remains a prevalent sense of unease with women undertaking violent actions, especially in such a sexualised way as they are viewed as “masculinist” and “objectified” and even “patriarchal” (King and McCaughhey, 2002:3) they have still become a stronger influence in film. At least on the surface, the traditional power relationship between the sexes is cut to its most basic elements. Although, rather than portraying the voyeur as the bearer of power and as the one in control, the male, overall, is shown as pathetic (Atwood, 2017:60) and the role as a whole becomes reversed within stripper films, allowing the women to use voyeurism and the male gaze to their advantage.

Bibliography:

Atwood, Feona (2017) Sex Media, Cambridge: Polity.

Campbell, Russell (2005) Marked Women: Prostitutes and Prostitution in the Cinema, Madison: University of Wisconsin Press.

Clover, J Carol. (1992) Men, Women, and Chain Saws: Gender in the Modern Horror Film Princeton: Princeton University Press.

Cohan, Steven (1994) ‘Feminizing the Song-and-Dance Man: Fred Astaire and the Spectacle of Masculinity in the Hollywood Musical’, in Screening the Male: Exploring Masculinities in Hollywood Cinema, ed. Steven Cohan and Ina Rae Hark, London: Routledge, 46-69.

Coon, David Rodger (2005) ‘Two Steps Forward, One Step Back: The Selling of Charlie’s Angels and Alias’, Journal of Popular Film and Television.

Cowie, E., (1997). Representing the woman: cinema and psychoanalysis. University of Minnesota Press.

Creed, Barbara (1993) The Monstrous Feminine Film, Feminism, Psychoanalysis analysis (New York: Routledge, pp.

Doane, Mary Ann citing Julia Kristeva (1981) About Chinese Women, in 'Gaught and Rebecca: The Inscription of Femininity as Absence, Enclitic Volume 5 No 2 Volume 6 no 1, p77.

Freud, Sigmund (1964) Analysis Terminable and Interminable Standard Edition, vol. xxiii (London: Hogarth Press)

Heller-Nicholas, A., (2011). Rape-Revenge Films: A Critical Study. McFarland.

Henley, N., (1977). Body Politics: Power. Sex and Non-Verbal Communication. London: Routledge.

Henry, C., (2014). Revisionist Rape-Revenge: Redefining a Film Genre. London: Routledge.

Hills, E., (1999). From ‘figurative males’ to action heroines: Further thoughts on active women in the cinema. Screen, 40 (1), pp-50.

Hipkins, Danielle and Taylor-Jones, Kate (2017) Prostitution and Sex Work in Global Cinema: New Takes on Fallen Women, London: Palgrave Macmillan.

Holmlund, Chris (2002) Impossible Bodies: Femininity and Masculinity at the Movies, London: Routledge, 71-90.

Inness, Sherrie (1999) Tough Girls, Philadelphia: University of Pennsylvania Press, 31-49.

Tasker, Yvonne (1995) Spectacular Bodies: Gender, Genre and the Action Cinema, London: Routledge.

Williams, Linda Ruth (2005) The Erotic Thriller in Contemporary Cinema, Edinburgh: Edinburgh University Press.

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