146) which Ponterotto invokes as response to the hegemonic
male gaze is, I suggest, less so.
Lost in Translation: The Male Gaze and The (In)visible Bodies of Muslim Women--A Response Article
This disrupts the controlling
male gaze and replaces it with questions, prefiguring the uncertainty built into this film's form.
Looking for a Way Out: Reimagining the Gaze in Carol
The usage of the word "he" to denote the subject in the previous passage is thus significant in that self-objectification, particularly for people who don't identify as heterosexual men, often stems from the patriarchal
male gaze. The subject is made to feel as though they are possessed in some way by the other person, as though their access to their perception of themselves is limited.
Othered Body, Obscene Self(ie): A Sartrean Reading of Kim Kardashian-West
As a self-portrait of a woman, The Rebel reiterates with a difference the
male gaze, something Susan Butler confirms.
Reiterating with a difference: feminist visual agency and late nineteenth-century photography
most straightforward, the concept of the
male gaze refers to the ways in
Against the Invisibility of Old Age: Cindy Sherman, Suzy Lake, and Martha Wilson
These concerns are also of central interest to feminists who, since the time of Mary Wollstonecraft, have engaged with the problem of women as objects of the
male gaze. (3) As is often pointed out, John Berger (1972, 47) made the important claim that woman in culture is "to be looked at":
Women as subject and object of the gaze in tragedy
The editors (both of the Gender Institute, London School of Economics, England) do not explain the specific criteria they used in selecting particular concepts for inclusion, but clearly due to the limitations of space they have selected very broad topics, such as class, cultural difference, disability, feminist economics, feminist politics, gender and development, gender-based violence, heteronormativity, interdisciplinarity, the
male gaze, new reproductive technologies, performativity, postcolonialism, the sexual division of labor, and subjectivity, to name a few.
Gender; the key concepts
A feminist/critical perspective permeates this work and is reflected in the entries on noted feminist theorists/activists (e.g., Susan Bordo, bell hooks, Jean Kilbourne, Gloria Steinem, Kathleen Hanna) and various concepts, theories, and media critique perspectives (e.g., for "
male gaze," there are seven entries on different feminist theoretical perspectives, and multiple entries on beauty and body image and gender and femininity).
The Encyclopedia of Gender in Media
Iskin's work is focused in part on the role of "modern women" in consumer culture and impressionism, and ber investigation offers a nuanced perspective of late nineteenth-century representations of femininity by displacing the binaristic structure of "
male gaze" upon female object.
Iskin, Ruth E.: Modern Women and Parisian Consumer Culture in Impressionist Painting
Like Princesses, the multimedia drawings, paintings, and prints address ideals of femininity, the majori- ty of which are sewn images of women posing pornographically for a presumed
male gaze. Amer often repeats these women serially in a grid-like format, recalling Andy Warhol's screen prints of mass media icons.
Ghada Amer
The
male gaze is thus rendered benign, and men are cast as an accessory in proving a girl's worth to the most important people in her life--her circle of friends.
The girlfriend gaze: women's friendship and intimacy circles are increasingly taking on the function of mutual self-policing
The imperial gaze reflects the assumption that the white western subject is central much as the
male gaze assumes the centrality of the male subject.
The east looks at the west, the woman looks at the man: a study of the gaze in Brick Lane by Monica Ali
The camera acts as a
male gaze in traditional film narrative, and therefore, some females might not enjoy this voyeurism of the female body.
A Critique of 'The Dirty Picture'