Journal articles: 'Male-gaze'

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Wood, Mitchell J. "The Gay Male Gaze." Journal of Gay & Lesbian Social Services 17, no. 2 (August 2004): 43–62. http://dx.doi.org/10.1300/j041v17n02_03.

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Pritchard, Annette, and Nigel J. Morgan. "Privileging the male gaze." Annals of Tourism Research 27, no. 4 (October 2000): 884–905. http://dx.doi.org/10.1016/s0160-7383(99)00113-9.

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Goldin, Daniel. "A Male Glance at the “Male Gaze”." Psychoanalytic Inquiry 42, no. 7 (October 3, 2022): 601–10. http://dx.doi.org/10.1080/07351690.2022.2121150.

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Ellis, Valerie. "Re-Viewing the Male Gaze." Afterimage 12, no. 6 (January 1, 1985): 7–8. http://dx.doi.org/10.1525/aft.1985.12.6.7.

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Ellis, Valerie. "Re-Viewing the Male Gaze." Afterimage 12, no. 6 (January 1, 1985): 7–8. http://dx.doi.org/10.1525/aft.1985.12.6.7.

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Karunianingsih, Diyah Ayu. "Kamera Sebagai Alat Operasi Male Gaze: Analisis Male Gaze dalam Film Horor “Pacar Hantu Perawan”." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (November 21, 2016): 19. http://dx.doi.org/10.24821/rekam.v12i1.1384.

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Abstrak Kehadiran perempuan dalam sebuah film horor dapat dilihat dari bagaimana perempuan direpresentasikan dan diposisikan. Film yang dianalisis adalah film horor berjudul Pacar Hantu Perawan. Menurut Lauretis teknik sinematik mengonstruksi perempuan sebagai objek hasrat pandangan bagi penonton dengan menggarisbawahi representasi tubuh perempuan sebagai sisi utama seksualitas dan kesenangan visual. Dalam tulisan ini dianalisis teknik sinematik terutama kamera dengan berbagai pilihan tipe pengambilan gambar (type of shot) yang digunakan. Analisis juga dilakukan terhadap teknik pencahayaan (lighting) dan pilihan kostum. Dari hasil analisis diketahui bahwa teknik sinematik baik teknik pengambilan gambar (type of shot) maupun pencahayaan digunakan untuk melancarkan hasrat memandang laki-laki (male gaze) dan mengeksploitasi tubuh perempuan demi kesenangan visual. Kamera digunakan sebagai alat beroperasinya hasrat memandang (voyerist gaze). Perempuan diposisikan sebagai objek bagi pandangan laki-laki yang patuh terhadap tatapan mata kamera (tatapan mata laki-laki). Teknik sinematik mengonstuksi perempuan sebagai objek hasrat pandangan bagi orang-orang di balik produksi dan penonton.Kata kunci: male gaze, teknik sinematik, perempuan, objek seksualitas AbstractCamera as a Tool of Male Gaze Operations: The Analysis of Male Gaze in Horror Film “Pacar Hantu Perawan”. The presence of women in a horror movie can be seen from how women are represented and positioned. The title of The film being analyzed is ‘Pacar Hantu Perawan’. According to Lauretis, cinematic technique is used to construct women as an object of eyeing desire for the audience by highlighting the representation of the female body as the primary side of sexuality and visual pleasure. In this paper the cinematic techniques were analyzed, especially the camera with its various types of shooting. Analyses were also conducted on the technique of lightings and costume selection. The result of the analyses shows that the cinematic techniques, either the types of shots or the lightings were used to expedite the male gaze and exploit the female body for the sake of visual pleasure. The camera is used as an operating means of eyeing desire (voyeur gaze). Women were positioned as the objects of the male gaze adherent to the gaze of the camera (male gaze). Cinematic techniques constructed women as objects of male gaze for the people behind the production as well as the audience.Keywords:

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Long, Zeyi. "The Gendered Gaze on Social Media: the Female Gaze as Rebellion." BCP Education & Psychology 9 (March 29, 2023): 45–51. http://dx.doi.org/10.54691/bcpep.v9i.4607.

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The male gaze, according to Laura Mulvey, means a way to objectify and sexualize women from heterosexual male perspectives. The male gaze can be found in every woman's daily life and has extended to social media. Thus, a specific type of female gaze emerges on social media in order to resist the male gaze. This type of female gaze aims at judging men's appearance, figure, education level or social position aggressively, differing from the female gaze in its usual context. Most studies of the gendered gaze lie in the field of film, literature and art, so in order to fill the gap, this study tries to analyse the gendered gaze in the field of social media. Two cases are raised in this study, 1saye bikini gate and Rayza airport gate, and the comments concerning the gendered gaze are gathered. Using textual analysis as a method, this study analyses the different characteristics of the male gaze and the aggressive female gaze on social media. According to the characteristics, this study focuses on whether the aggressive female gaze on social media can launch a rebellion against the male gaze on social media. Because of the nature and the purpose of the aggressive female gaze on social media, this study regards it as impossible for this type of female gaze to truly become a solution and a rebellion.

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Fan, Xiaoyi. "An Analysis of the Correct Use of Female Gaze from the Perspective of Gaze Theory -- A Case study of Portrait of a Lady on Fire." BCP Social Sciences & Humanities 21 (February 15, 2023): 134–39. http://dx.doi.org/10.54691/bcpssh.v21i.3458.

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Feminism is currently popular, and there are an increasing number of feminist films attempting to promote this idea. Some scholars have expanded the theory of gaze into feministic fields, most notably Laura Mulvey, who proposed the concept of the male gaze. Following that, the theory of the female gaze was developed in response to the theory of the male gaze. However, the use of the female gaze in many films is incorrect, and the gaze theory lacks a clear definition of the female gaze. Using gaze theory, the study investigates the proper use of the female gaze in feministic films. First, the research points out some representations of the pseudo-female gaze: directors only change the protagonist's gender, transforming a male into a female with a female performing male functions; they maintain a male gaze while incorporating feminist themes; the portrayal of females is stereotypical and idealistic, not delving into their true inner thoughts. Then Taking the film Portrait of a Lady on Fire as an example, the outcome demonstrates that the correct female gaze used in films has the following characteristics: Characters can be aware of and object to the gaze; It is the gaze as equal seeing; It is the gaze that focuses on the feelings and experiences of the characters. All these characteristics can be used in future feministic films to help improve audiences' understanding of the female gaze and to help get rid of the pseudo-female gaze in films.

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Zhang, Jingru. "The Influence of the Male Gaze on Womens Careers on Social Media in China." Lecture Notes in Education Psychology and Public Media 4, no. 1 (May 17, 2023): 707–11. http://dx.doi.org/10.54254/2753-7048/4/2022309.

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The male gaze is a concept that has always existed in society and has been gradually recognized and discussed by Chinese people in recent years. On Weibo, there are plenty of cases and topics about the male gaze. Researchers have found that the male gaze on Weibo can affect womens careers in some way. Therefore, this paper analyzes and summarizes the cases and comments on Weibo to explore how the male gaze on Weibo affects womens careers. The article found that the male gaze has characteristics: extreme, aggressive, and double standard on Weibo, and these characteristics show the means of the male gaze affecting womens careers, affecting women through negative comments, and causing a blow to womens careers. These characteristics come from mens desire for power and oppression of women under the patriarchal social structure. Therefore, if women want to get rid of this kind of influence, they need to be encouraged to make bold resistance to the oppression of the whole patriarchal society.

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Snow, Edward. "Theorizing the Male Gaze: Some Problems." Representations 25, no. 1 (January 1989): 30–41. http://dx.doi.org/10.1525/rep.1989.25.1.99p0256r.

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Snow, Edward. "Theorizing the Male Gaze: Some Problems." Representations 25 (January 1, 1989): 30–41. http://dx.doi.org/10.2307/2928465.

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Yu, Mufan, Tianjiao Zhang, Yuzhi Xun, and Zuyan Sun. "Within Chinese Social Media, Do the Gendered Gaze Impact the Female Appearance Anxiety of Chinese Z Generation?" Lecture Notes in Education Psychology and Public Media 2, no. 1 (March 1, 2023): 174–83. http://dx.doi.org/10.54254/2753-7048/2/2022397.

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Based on the observation of social media, the male gaze and female gaze have become two essential factors that trigger the appearance anxiety of young Chinese women. Considering the conventional patriarchal ideologies in China, the male gaze is primarily deemed the root of female appearance anxiety. However, with social media development, the female gaze has also become the origin of female appearance anxiety. Hence, the study utilized a mixed-method and took the Tik Tok as an example to lunch the research to determine whether the gendered gaze impacts their appearance anxiety while using social media for the Chinese female Z generation. Therefore, the study sent out 206 questionnaires and collected 175 effective responses; further, it did 19 in-depth female interviews aged 18 to 24 from different backgrounds. These data analyses pointed out that the female gaze is generally and gradually more influential than the male gaze, but the male gaze still invisibly and stiffly affects females in social media. In conclusion, the paper argued that the male gaze does not disappear but becomes unseen; global media promotes female empowerment so that the gaze and evaluation in the female community are increasing. In the future, for audiences, it is crucial to think of how to escape the "shackles" of media on females within the era of digital feminism.

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Wei, Xiaoke, Yalu Yang, and Zexin Zhang. "Female Gaze From the View of A Female Director Analysis of The Bold, The Corrupt, and The Beautiful and The Old Town Girls as Examples." Lecture Notes in Education Psychology and Public Media 5, no. 1 (May 17, 2023): 66–72. http://dx.doi.org/10.54254/2753-7048/5/20220411.

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Since Laura Mulvey innovated the gaze theory, European and American societies have experienced two waves of feminist revolutions, and women's social status has gradually increased. Thus in recent years, many filmmakers have begun to create films from women's perspectives, and critics have also created the term "Female Gaze" as an opposite to the term "Male Gaze". However, there has not been any clear definition so far of what the "Female Gaze" is. The film and television analysis nowadays pays more attention to the female-to-female gaze and female-to-male gaze in romantic relationships and ignores the role of female directors play in shaping the relationship of film characters, especially the non-romantic relationships between female characters. Influenced by the feminist current, China's feminist films have also made great progress. Male and female directors have created new female roles through the lens. However, the different portrayals of female characters in the female-led films reflect the differences between Male Gaze and "Female Gaze". This paper will take The Bold, the Corrupt, and the Beautiful and The Old Town Girls as examples, by analyzing these two female-led films directed by a male and a female respectively, this paper will explore the main features of "Female Gaze" in female directing films.

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Krombholc, Viktorija. "WITH SHINING EYES: WATCHING AND BEING WATCHED IN SARAH WATERS’S "TIPPING THE VELVET"." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 151. http://dx.doi.org/10.19090/gff.2015.1.151-162.

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The aim of this paper is to explore the dynamics of looking and being looked at in Sarah Waters’s Tipping the Velvet. The analysis is theoretically framed by feminist film theory and the concept of the male gaze. According to Laura Mulvey, classic narrative cinema reflects social views on sexual difference and reaffirms the active male/passive female binary. The novel raises the issue of what happens with the gaze when the protagonists are non- heteronormative, a question further made complex by the theme of cross-dressing, which destabilizes visual gender coding and makes it unreliable. The female narrator is infatuated with a male impersonator only to become one herself, and the visual interaction that spurs their sexual relationship on does not fit neatly into Mulvey’s analysis, as both the bearer of the gaze and its object are female, a woman coded as masculine. The male gaze is further deconstructed as the main female character becomes a prostitute, passing for male and working with male clients. Finally, the novel questions the controlling aspect of the gaze implicit in Mulvey’s essay, as the gaze is reimagined as a potential source of power to be desired and invited.

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Li, Aiyue. "Female Gaze of Chinese Lesbian Cinema in the Millennium." Communications in Humanities Research 29, no. 1 (April 19, 2024): 272–80. http://dx.doi.org/10.54254/2753-7064/29/20230791.

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Film is believed to be a reproduction of a phallocentric system that marginalized, objectified, and essentialized women, with the male gaze as one of its most powerful tools. The female gaze has been pinned with the hope of deconstructing the male gaze and reestablishing the gaze, but so far it has no universally agreed-upon definition. In this paper, the author will conduct a textual analysis of two Chinese lesbian films, exploring and dissecting the female gaze on three levels: character, audience, and filmmaker. The authors selection draws on definitions of lesbian cinema by Jackie Stacey and Teresa de Lauretis, who disagree on the correlation between the romance and sexuality of two female protagonists. Based on the authors findings, the subject and the object in the female gaze do not form an absolute opposition because power is not fixed on either side but flows between the two. The female gaze in the lesbian cinema redefines the dualism inherent in the male gaze, and thus challenges psychoanalysis heterosexualism and the film industry dominated by patriarchy.

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Sholikhah, Rahmatika Luthfiana, Wening Udasmoro, and Rr Paramitha Dyah Fitriasari. "Male Gaze dalam Tari Sekapur Sirih Jambi." Jantra. 15, no. 2 (December 14, 2020): 139–48. http://dx.doi.org/10.52829/jantra.v15i2.140.

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Tari Sekapur Sirih adalah tari penyambutan tamu agung di Jambi. Tari ini wajib dibawakan untuk menyambut tamu agung di bandara/pelabuhan. Ditarikan oleh 9 orang perempuan dan 3 lakilaki sebagai pengawal. Gerakan yang ditampilkan bersifat feminin yaitu gerak wanita sedang merias diri. Penulis membahas beroperasinya male gaze yang terjadi di dalam tari Sekapur Sirih Jambi. Malegaze merupakan teori untuk membedah film. Penulis menggunakan teori ini untuk membedah seni pertunjukan yakni tari. Untuk melihat beroperasinya male gaze di dalam tari dapat dilihat dari panggung pertunjukan dan juga gerak tarinya. Penelitian ini merupakan penelitian kualitatif dengan melakukan studi pustaka, observasi dan wawancara. Hasil dari penelitian ini menunjukan bahwa beroperasinyamale gaze dalam sebuah seni pertunjukan taridapat dilihat dari bentuk panggung, pencahayaan dan gerak penari.

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Cordell, Dena M., and Joseph R. McGahan. "Mutual Gaze Duration as a Function of Length of Conversation in Male—Female Dyads." Psychological Reports 94, no. 1 (February 2004): 109–14. http://dx.doi.org/10.2466/pr0.94.1.109-114.

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To assess the effects of familiarity on the duration of mutual gaze, and other measures of visual interaction, e.g., duration of unilateral gaze and discrepancy in duration between partners, 14 male–female dyads discussed unconditional positive regard for 8 min., after individually studying the topic for 10 min. Mutual gaze duration was significantly longer during the last 2 min. of the discussion than during the first 2 min. This suggests that, after some exposure at least, participants maintain longer durations of mutual gaze. Further, if the duration of mutual gaze is interpreted as a measure of intimacy, even a relatively short social interaction appears to increase the intimacy between two individuals of opposite sex. However, it is not clear whether these findings could be generalized to male–male and female–female dyads.

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Zhou, Ningyue, and Anxin Ling. "Analyze the Status of Young Women in Patriarchal Societies Films through the Theories of Gaze——Shots of Gazes in "Thelma and Louise"." BCP Social Sciences & Humanities 21 (February 15, 2023): 288–92. http://dx.doi.org/10.54691/bcpssh.v21i.3508.

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The Third Feminist Movement in America is the setting for the iconic feminist movie "Thelma and Louise." The third feminist movement at the time demanded the abolition of social gender norms, prejudices, and more while thinking outside of the traditional feminist paradigm. Hollywood movies must continuously examine the significance of women's existence from the standpoint of cinematic art because Hollywood is the primary source of feminism. Therefore, the focus of this essay is on how to use gaze theories, including male gaze theory and female gaze theory, to depict the status of women in patriarchal society films. The term "man gaze" describes how the camera confines women because males predominate the film industry and consequently make decisions based on their own values and interests. The female gaze is a way for women to reclaim the sovereignty of their bodies; it is a gaze on women from a female perspective. Through a series of analyses of film techniques and camera language, combined with the gaze theory proposed by Laura Mulvey, it can be hoped to discuss the current situation of contemporary women in a patriarchal society. Specifically, by analyzing the male gaze and female gaze in the film "Thelma & Louise", it can be hoped to illustrate the poor living conditions of women in a patriarchal society, where the male gaze can be seen everywhere in life.

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Wan Yahya, Wan Roselezam, Emily Abd Rahman, and Zainor Izat Zainal. "Male Gaze, Pornography and the Fetishised Female." International Journal of Interdisciplinary Social Sciences: Annual Review 5, no. 1 (2010): 25–38. http://dx.doi.org/10.18848/1833-1882/cgp/v05i01/53015.

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Pearce, Margaret. "“Morpho Eugenia”: Problems with the Male Gaze." Critique: Studies in Contemporary Fiction 40, no. 4 (January 1999): 399–411. http://dx.doi.org/10.1080/00111619909604922.

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Derné, Steve, and Lisa Jadwin. "Male Hindi filmgoers' gaze: An ethnographic interpretation." Contributions to Indian Sociology 34, no. 2 (June 2000): 243–69. http://dx.doi.org/10.1177/006996670003400204.

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Merrill, Kenneth, Aidan Bryant, Emily Dolan, and Siying Chang. "The Male Gaze and Online Sports Punditry." Journal of Sport and Social Issues 39, no. 1 (September 10, 2012): 40–60. http://dx.doi.org/10.1177/0193723512455920.

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Guldimann, Colette. "The (black) male gaze: Mbongeni Ngema's Sarafina!" South African Theatre Journal 10, no. 2 (January 1996): 85–100. http://dx.doi.org/10.1080/10137548.1996.9688179.

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Tang, Yingman. "The Anti-male Gaze Attempt under Digital Media: Culture Consumption Featured with Female Dominance and the Possibility of Female Gaze." Lecture Notes in Education Psychology and Public Media 4, no. 1 (May 17, 2023): 732–37. http://dx.doi.org/10.54254/2753-7048/4/2022314.

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Male gaze has had far-reaching effects on people in all aspects. With the rapid development of digital media, women have created their own female-centered aesthetics. Thus, the reversed definition of male gaze female gaze occurs in the discourse for the first time. Women single out their desirable images of men by creating idols, culture, romantic games for women, and so on. Aiming to seek the potentials and precise impacts of this noted women participation in consumption, the paper would resort to affect theory, a method of case study. The results showed that the anti-male gaze attempt managed to diminish the perception of women as monolithic state. It disintegrated the traditional one-dimensional characters to a certain extent. These emerging multiple standards are set conversely to toxic masculinity. However, the concept of female gaze, on the other hand, could be another thought trap created by patriarchy. Women participation here has non-negligible drawbacks in that women do not equip the same physical and social power to demand men. Therefore, people should view it dialectically so as to fight back the male gaze with other more judicious approaches.

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Ghsoh, Tamal. "Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 28, 2021): 151–59. http://dx.doi.org/10.24113/ijellh.v9i7.11140.

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Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

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Susmita, Farhana. "The Question of “Female Gaze”:." Crossings: A Journal of English Studies 6 (August 1, 2015): 148–57. http://dx.doi.org/10.59817/cjes.v6i.219.

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This paper problematizes the issue of an “active female gaze” as opposed to the passive one determined by the dominant ideological system that produces an “active male gaze” in narratives of cinema and advertisements. In mainstream cinema as well as the advertisement industry, usually the story is rendered from an essentially male perspective, regardless of the narrator’s being male or female. It is so even when the subject matter is related to issues that directly concern women like the repression of their desires or Lesbianism, for instance. Using some of the key ideas propounded by British film critic Laura Mulvey, the paper examines some of the texts from both cinema and the advertisement industry to find out the complex mechanism of the “male gaze.” It also attempts to explore the possibility of a “female gaze” that might, if achieved, give new dimensions to both forms of entertainment.

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Bijotti, Catarina Silva. "A sexualidade feminina e(m) "male gaze" no Cisne Negro, de Darren Aronofsky (2010)." Revista Brasileira de Estudos da Homocultura 5, no. 17 (2022): 136–52. http://dx.doi.org/10.31560/2595-3206.2022.17.12806.

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Berlian, Dita. "The Criteria of Ideal Man as Seen from Female Gaze in Free!" K@ta Kita 7, no. 2 (October 29, 2019): 165–72. http://dx.doi.org/10.9744/katakita.7.2.165-172.

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Japanese animations (anime) are worldwide known. They are targeted to various kinds of audience. A drama-sport anime entitled Free! is rarely found as the targeted audience is female audience. Because Free! targets female audience, the definition of the ideal men is defined from the point of view of the female audience. Therefore, the gaze which is used to identify the male protagonists is female gaze. By using the theory of male gaze and traditional male sex role themes, I found that there is a combination of masculinity and femininity in the male protagonists in Free!. The combined characteristics are shown in the physical appearance, personality traits, and roles. The appearance of this type of an ideal man leads to a new concept in Japan which is called bishōnen. Keywords: Anime, ideal man, masculinity, femininity, female gaze, bishōnen.

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Yang, Linyu. "A Visual Analysis of the Female Gaze in Korean Pop Culture." Communications in Humanities Research 4, no. 1 (May 17, 2023): 251–58. http://dx.doi.org/10.54254/2753-7064/4/20220482.

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This paper uses image analysis to better investigate the images under the female gaze and uses current literature to show the importance, history, and influence of the female gaze. Through research and analysis, it is found that the male images under the female gaze in K-pop are very diverse and do not generate some stereotypes like the female images under the male gaze. The female images under the female gaze do not expose private parts and emphasize the body's curves but express the females power. Furthermore, due to the increasing number of female K-pop fans, the female gaze is becoming increasingly important in the Korean market, as part of the consumerism to attract women to buy goods. Female perspectives are highly inclusive and pay attention to self-expression, so society needs more female gaze to improve the diversity of social aesthetics and reduce gender bias.

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Deaner, Robert O., Stephen V. Shepherd, and Michael L. Platt. "Familiarity accentuates gaze cuing in women but not men." Biology Letters 3, no. 1 (November 28, 2006): 65–68. http://dx.doi.org/10.1098/rsbl.2006.0564.

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Gaze cuing, the tendency to shift attention in the direction other individuals are looking, is hypothesized to depend on a distinct neural module. One expectation of such a module is that information processing should be encapsulated within it. Here, we tested whether familiarity, a type of social knowledge, penetrates the neural circuits governing gaze cuing. Male and female subjects viewed the face of an adult male looking left or right and then pressed a keypad to indicate the location of a target appearing randomly left or right. Responses were faster for targets congruent with gaze direction. Moreover, gaze cuing was stronger in females than males. Contrary to the modularity hypothesis, familiarity enhanced gaze cuing, but only in females. Sex differences in the effects of familiarity on gaze cuing may reflect greater adaptive significance of social information for females than males.

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Han, Yangtianyue. "The Male Gaze and Its Impact on Womens Public Living Space." Communications in Humanities Research 5, no. 1 (September 14, 2023): 145–50. http://dx.doi.org/10.54254/2753-7064/5/20230148.

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Under the gaze of men, the motive of objectifying the opposite sex to please the same sex is bound to cause derogation to women. Through the shaping of female images by media or literature, they are sexualized, objectified and alienated, and integrated into the society of male values as an alien. When the general trend of society excludes women and citizens lack social identity for women, women will be marginalized by society. This gaze is known as the male gaze, defined as interpreting women from a male perspective and objectifying them to please the same sex. When the criteria for evaluating female bodies depend on a male-guided aesthetic, it creates the illusion of male criticism power over female strangers.

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Varianna, Enya Achresia, and Natasya Kusumawardani. "THE SHIFTING FROM THE MALE GAZE TO THE FEMALE GAZE IN K-POP GIRL GROUPS AS THE IMPACT OF #METOO MOVEMENT IN SOUTH KOREA." Indonesian Journal of International Relations 8, no. 1 (February 27, 2024): 264–85. http://dx.doi.org/10.32787/ijir.v8i1.520.

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This research analyses the shift from the male gaze to the female gaze in K-pop girl groups impacted by the #MeToo movement in South Korea. The shift is marked by the thriving of women empowerment ideas by girl groups. This research uses the Transnational Advocacy Network (TAN) and postfeminism, examined using qualitative research methodology with secondary and textual analysis. This research finds that the shifting from the male gaze to the female gaze in K-pop girl groups occurred through the shift from objectification to subjectification of women, focusing on individualism, choice, and empowerment, as well as showing irony and knowingness. Therefore, the #MeToo movement has impacted the K-pop industry because the gaze has shifted, and Korean society has started to accept idols supporting women's empowerment and gender equality

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Gokcem, Selen. "Transperance Me I Want to be Visible: Gay Gaze in Tom Ford’s film A Single Man." CINEJ Cinema Journal 1, no. 2 (April 20, 2012): 86–91. http://dx.doi.org/10.5195/cinej.2012.46.

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Classic gaze theory that was underlined by Laura Mulvey in 1975 which claims the male gaze objectifies woman and turns the woman into a sex object, is lack in the explaining gaze from man to man. In Tom Ford’s A Single Man the gaze is used from man to man different from man to woman and it is not perceived as something negative. By providing a queer gaze analysis, this article will show how homosexual people live their intimate feelings by gaze and how gay gaze can be different from the classic gaze in a way that it does not reduces the other one in an interior position.

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Villarreal, Amanda Rose. "Meet My Gaze: Crafting the Agentic Gaze for Zoom Theatre." Theatre and Performance Notes and Counternotes 1, no. 1 (March 1, 2024): 1–16. http://dx.doi.org/10.5325/tpnc.1.1.0001.

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Abstract This article considers both improvised and scripted performances produced during the pandemic and the ways in which framing live performance creates gaze. In conversation with Laura Mulvey’s concept of the male gaze and Stephanie Jennings’s concept of the feminine gaze, this article analyzes the ways in which awareness of both of these gazes can inform the development of a new gaze—an agentic gaze—for Zoom Theatre. The agentic gaze requires an adapted directorial practice in order to create a dialectic among collaborators characterized by agentic symmetry; this article describes the ways in which a curatorial directing process accomplishes this.

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Skelton, Christine. "Constructing dominant masculinity and negotiating the 'male gaze'." International Journal of Inclusive Education 6, no. 1 (January 2002): 17–31. http://dx.doi.org/10.1080/136031102753389819.

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McAllister, Matthew P., and Lauren J. DeCarvalho. "Sexualized Branded Entertainment and the Male Consumer Gaze." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 299–314. http://dx.doi.org/10.31269/triplec.v12i1.506.

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This article applies the “male consumer gaze” – integrating work influenced by Erving Goffman and Laura Mulvey – to two branded televised events: the 2011 Victoria’s Secret Fashion Show and the 2012 Hooters International Swimsuit Pageant. Critiqued elements include gendered body positioning, televisual and narrativizing techniques, social and integrated media, and branding strategies that combine to create a flow of consumption-based male gazing. Such trends may intensify with changes in media economics and niche marketing.

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McAllister, Matthew P., and Lauren J. DeCarvalho. "Sexualized Branded Entertainment and the Male Consumer Gaze." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 299–314. http://dx.doi.org/10.31269/vol12iss1pp299-314.

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This article applies the “male consumer gaze” – integrating work influenced by Erving Goffman and Laura Mulvey – to two branded televised events: the 2011 Victoria’s Secret Fashion Show and the 2012 Hooters International Swimsuit Pageant. Critiqued elements include gendered body positioning, televisual and narrativizing techniques, social and integrated media, and branding strategies that combine to create a flow of consumption-based male gazing. Such trends may intensify with changes in media economics and niche marketing.

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Shabiriani, Uzda Nabila, and I. Gede Yudha Pratama. "REPRESENTASI SEKSUALITAS DALAM MUSIC VIDEO HYUNA LIP & HIP." Jurnal Nawala Visual 4, no. 1 (May 2, 2022): 11–17. http://dx.doi.org/10.35886/nawalavisual.v4i1.349.

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Ketidakadilan representasi perempuan dapat dilihat pada Music Video Hyuna yang berjudul Lip & Hip. Tatapan laki-laki atau male gaze sebagai penonton membangun fantasi terhadap sosok perempuan sesuai dengan selera mereka, sedangkan perempuan sebagai objek seksualitas menempatkan tubuh perempuan yang menciptakan, mengorganisir dan mengekspresikan, serta mengarahkan hasrat. Dalam penelitian ini, peneliti menganalisis gestur tubuh, mimik wajah, ikon yang ditampilkan, serta hal-hal lain yang dapat merepresentasikan seksualitas dengan menggunakan landasan teori male gaze Laura Mulvey. Hasil analisis ini menunjukkan bahwa di dalam video Lip & Hip terdapat tanda-tanda representasi seksualitas yang mengarah kepada bentuk eksploitasi terhadap perempuan dan sekaligus mencocokkan bentuk-bentuk seksualitas tersebut dengan teori male gaze. Video klip Lip & Hip bertindak sebagai penanda untuk penonton laki-laki, diikat oleh urutan simbolik yang dapat menjadi tempat laki-laki bisa melepaskan fantasi dan obsesinya melalui perintah linguistik (arahan sutradara) dengan menekankannya pada citra HyunA hanya sebagai pembawa makna (wayang) bukan pembuat makna (dalang), sehingga video klip Lip & Hip merupakan bentuk representasi seksualitas yang dijual oleh media untuk kepetingan kapitalisme dan sekaligus objek seksualitas pria (male gaze).

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Lin, Ziyi. "Pop, Girl Groups, Anime, Soap Operas: How East Asian Media’s Negative Portrayal of Women Shapes Adolescents’ View on Gender Equality and Self Image." Journal of Education, Humanities and Social Sciences 18 (August 11, 2023): 89–96. http://dx.doi.org/10.54097/ehss.v18i.10961.

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Media has long been shaping people’s perspectives and media in the patriarchal world has been constructing a typical portrayal of what women ought to resemble. This study aims to reveal how media in East Asia has been shaping women and how it has been affecting teenagers. Through gathering findings from different articles, it is found that women are often sexualized and commercialized under the heavy male gaze, acting for men’s benefit, especially in East Asia where patriarchy had stuck along. With males dominating the industries and holding the wealth and power uniformly in most parts of the world, they have active control over their passive surroundings. Men choose what to represent according to their own standards and interests, injecting the male gaze onto all of the media they have touched upon. With its wide prevalence, people assimilate and subconsciously adopt the male gaze, which diminishes women. Adolescents can be strongly affected by this portrayal, such as encountering body dysmorphia, internalization of the male gaze, early attachment to pornography, etc.

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Kelley, Mary Jane. "The Male Gaze and Phallic Aggression in Góngora’s “¿Son de Tolú . . .?”." Calíope 27, no. 1 (April 2022): 46–62. http://dx.doi.org/10.5325/caliope.27.1.0046.

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This article examines Góngora’s sonnet “¿Son de Tolú. . .?” from the point of view of the male gaze and exposes the aggressive, and ultimately violent, reaction resulting from a frustrated gaze. The epigraph explains how don Luis traveled to Cuenca where he was offered two ugly criadas. The sight prompts the poet to first animalize and racialize the women by describing them as monkeys and to then invite the men of Cuenca to sexually assault them. Finally, the poet introduces a parrot as surrogate in order to perpetuate the male gaze and its resulting attempt to dominate and control.

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Dewi, Agustina Kusuma, Yasraf Amir Piliang, and Irfansyah Irfansyah. "DELEUZE CINEMATICA’ ETHIC IN JAVA WOMEN'S REPRESENTATION ON ‘SETAN JAWA’ GARIN NUGROHO'S FILM." VISUALITA 8, no. 1 (August 16, 2019): 39–46. http://dx.doi.org/10.33375/vslt.v8i1.1867.

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Film is a medium of visual communication that plays a role in the dissemination of women's concept discourse in Indonesia, one of which is due to its distinctive characteristics that can last for a long period of time, potentially wider in its dissemination, including also being a mass media hypnotic culture. The film is closely related to the concept of gaze, male gaze in the cinematography industry, which according to overly uses men's views, which is positioning women as subjects who have no power over themselves (self-possessiveness) but as objects of male gaze. Women become commodities in the film, a sex object that is commodified to construct an image that represents the position of women is as an additional role that is not important in one film narrative. In the male gaze narration, women in the film do not act, but become part of the actions of men. Morally, male gaze assumes that the behavior of women in films has a vacuum, but in Garin Nugroho's 'Setan Jawa’ using Deleuze's cinematic study, women are positioned to have other representations that differ from the ethics of cinematics which do not place women as signs of sex objectification for the sake of fulfillment of men's desires, but as subjects who are fully empowered and may wish of themselves.

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Pereira-Ares, Noemí. "The East Looks at the West, the Woman Looks at the Man: A Study of the Gaze in Brick Lane by Monica Ali." Miscelánea: A Journal of English and American Studies 46 (February 17, 2013): 71–81. http://dx.doi.org/10.26754/ojs_misc/mj.20128947.

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The present contribution intends to study the subversive implications of the narratological technique of focalization in Monica Ali’s Brick Lane. Relying on postcolonial and gender studies, I argue that, in Brick Lane, Ali uses focalization to subvert the prevailing centrality of both the white western gaze –the “imperial gaze” as defined by Kaplan (1997)– and the male gaze. To this effect, Ali has created a narrative in which the main focalizer, Nazneen, is a Spivakian subaltern female character, a character who, moreover, is recurrently looking at and scrutinizing western and eastern, dressed and undressed, male and female bodies.

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Purnama Sari, Prasiani. "The Male Gaze in Internet Advertising: Content Analysis of Axe Indonesia's Collaboration with Enzy Storia on Instagram." Edunity Kajian Ilmu Sosial dan Pendidikan 2, no. 12 (December 25, 2023): 1449–62. http://dx.doi.org/10.57096/edunity.v2i12.188.

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Instagram serves as a unique platform for businesses to engage consumers, market products, and convert visitors into buyers. While brands typically tailor their visual presentation to align with the brand persona and the sex/gender of their target audience, Axe Indonesia, in contrast, collaborated with Enzy Storia as an influencer on social media and even at off-network events, thereby indicating the presence of the male gaze in this collaboration. This qualitative study, employing a content analysis approach, aims to understand how the male gaze is reflected in Axe Indonesia's advertising content involving Enzy Storia on Instagram to generate engagement. The findings reveal the existence of visual representation, gender construction, and Enzy Storia's contribution in this collaboration. The male gaze in the visuals is further supported by audio elements, captions, and copy that objectify women

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Zuhair Al-Wattar, Shaymaa. "Breaking the Spell of the Male Gaze in Selected Women's Ekphrastic Poems." Journal of Education College Wasit University 2, no. 37 (December 18, 2019): 20. http://dx.doi.org/10.31185/eduj.vol2.iss37.1106.

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For centuries art and poetry have been inspiring each other and the relation between word and image constantly fascinates the poets. The literary world has given poems that tackle artwork the name: ekphrasis. Ekphrasis represents a rich hunting ground for references, allusions, and inspiration for poets. However, ekphrasis is powerfully gendered that privileged male gaze. Traditionally, the male is given the strong position as the gazer, while the woman is locked in her predetermined role that of the beautiful, silent, submissive, gazed upon. Women poets refuse to adhere to the gendered ekphrastic tradition and the under-representation of women in ekphrastic poetry. They strongly challenged the ekphrasis tradition modifying it to create a distinctive feminist ekphrasis. Their poetry changes the male-dominated ekphrsis tradition that for centuries has pervaded the Western cultures. The work of the poets Louise Bogan,Carol Ann Duffy, Rita Dove, and Margaret Atwood is an excellent example of women's ekphrastic poetry that defies the tradition of patriarchal male gaze in an attempt to break the spell of the male gaze.

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da Silva Diefenthaeler, Samantha, and Carla Cerqueira. "Reflections Around Comic Gaze: From the Female Gaze in the early years of Cinema to the Performance Servitudes, By Jesper Just." International Journal of Film and Media Arts 7, no. 1 (October 3, 2022): 75–93. http://dx.doi.org/10.24140/ijfma.v7.n1.04.

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This article has as its main objective to reflect on the influences of the female defiant gaze in the early years of cinema history in order to prove its contemporary influence. From the analysis of three irreverent visual gags present in the early years of cinema, in which the woman breaks with the power of the camera by looking directly at the device - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), and One Week (Buster Keaton, Edward F. Cline, 1920) -, we propose a theoretical reflection that allows us to define a concept that we call Comic Gaze. This is related to the concerns and proposals of the challenge imposed by the gaze of a woman directly at the camera. We base this problematization on Laura Mulvey’s proposal on the Male Gaze (1975) and bell hooks’ on the Oppositional Gaze (1992), which allow us to advance that this direct gaze of the woman to the cinematographic camera ends up destabilizing the authority of the male perspective on their bodies and works as a logic of visual resistance. Therefore, the central objective of this article is to investigate and contrast this irreverent gaze in order to finally understand if it is still present in contemporary performance Servitudes (Jesper Just), connecting these distinct works despite the temporal distance between them.

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Hendijani, Roozbeh Babolian. "The Jakarta Male Gaze: Masculinity and Skincare Preferences Unveiled." Malaysian Journal of Consumer and Family Economics 31, no. 1 (December 1, 2023): 1–32. http://dx.doi.org/10.60016/majcafe.v31.01.

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The prevalence of males using skincare products continues to rise, while the potential market of male skincare consumers has been overlooked. Only some studies have focused on males’ purchase and usage of skincare products, which still needs to be researched, particularly in developing countries such as Indonesia. This study explores the factors influencing males in using skincare products supported by the Theory of planned behavior. Questionnaires were distributed to 200 male skincare users in the Greater Jakarta area. The survey results were analyzed using the PLS-SEM method. This study found that self-image and social expectation influence intention, leading to skincare product use. This study also revealed that attention to skin health has an insignificant impact on the intention and usage of skincare products. The study's findings provide insights to the marketers of male skincare products in identifying which factors are connected to male customers and create or increase the demand for male skincare products. This study’s findings also assist skincare product marketers and manufacturers in Indonesia or globally in devising a comprehensive product and marketing strategy focusing on male consumers.

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O'Brien, Eugene. "‘Mirror, Mirror on the Wall’: Female Subjective Dialectics in the Work of Paul Howard, Louise O’Neill and Naoise Dolan." Review of Irish Studies in Europe 6, no. 1 (June 22, 2023): 41–64. http://dx.doi.org/10.32803/rise.v6i1.3166.

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This essay will examine how the three authors Paul Howard, Louise O’Neill and Naoise Dolan see the gaze, and the male gaze, as constitutive of subjectivity and identity in a twenty-first-century Irish context. It uses a theoretical matrix that combines the work of Jacques Lacan, Laura Mulvey and a range of contemporary feminist perspectives to critique the hermeneutics of identity and the concept of the image. In Howard’s work, Ross, the central character, reifies and commodifies women according to how they look, as being with a woman who is beautiful is how he validates his own quite insecure masculinity; his is the gaze of commodification and power. In Asking for It, Louise O’Neill offers a binary image of the power and the allure of visual beauty as her central character looks for the gaze of the other and manipulates it, but is then subject to the rape and the aftermath wherein she has no control over her images on social media and the subjective dehiscence that ensues. In Exciting Times, Naoise Dolan’s central character is the object of a male and female gaze, as a bisexual character who oscillates between two lovers; Ava, therefore, problematizes and complicates the theory of reflection and the gaze.

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Rajasakran, Thanaseelen, Santhidran Sinnappan, Thinavan Periyayya, and Sridevi Balakrishnan. "Muslim male segmentation: the male gaze and girl power in Malaysian vampire movies." Journal of Islamic Marketing 8, no. 1 (March 6, 2017): 95–106. http://dx.doi.org/10.1108/jima-01-2015-0007.

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Purpose The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory. Design/methodology/approach This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory. Findings The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences. Research limitations/implications This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area. Practical implications The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies. Social implications This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market. Originality/value This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.

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Coorlawala, Uttara Asha. "Darshan and Abhinaya: An Alternative to the Male Gaze." Dance Research Journal 28, no. 1 (1996): 19. http://dx.doi.org/10.2307/1478103.

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Wilkins. "Black Folk, White Gaze: Folklore and Black Male Precarity." Journal of Folklore Research 58, no. 3 (2021): 77. http://dx.doi.org/10.2979/jfolkrese.58.3.05.

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Journal articles on the topic 'Male-gaze'

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