by lea.haas -

Road to M.A. 2: Literature pt1.

Book 1

Goddard, Kevin. „Looks Maketh the Man“: The Female Gaze and the Construction of Masculinity. In: The Journal of Men’s Studies (2000)

Overview: The article explores how the concept of the female gaze redefines masculinity and its representation in media. Goddard examines how men are increasingly subject to objectification, traditionally reserved for women, and how this shift affects societal norms and expectations of masculinity.

Important Headlines/Chapters:

  • Introduction
  • Theoretical framework
  • Analysis of media examples
  • Implications on masculinity
  • Conclusion

Questions:

  1. What is Goddard’s main argument about the impact of the female gaze on masculinity ?
  2. How does the female gaze differ from the male gaze?
  3. What evidence does Goddard provide to show how men are perceived in media ?
  4. How does the female gaze affect gender roles in society?
  5. What conclusions does Goddard draw about the implications of these shifts in media ?

Read:

While reading the text I came across these anwers:

Goddard argues that the female gaze does not simply reverse the dynamics of the male gaze but instead introduces a nuanced perspective on masculinity.

  • He provides examples from advertisements and popular media.
  • The female gaze impacts men by placing new aesthetic pressures on them.
  • This shift has broader cultural implications, as it challenges the idea that only women are subjected to the pressures of physical appearance.

Recite:

The article delves into how the female gaze influences modern representations of masculinity. Goddard argues that the objectification of men in visual culture reflects changing gender dynamics, where both men and women are subject to aesthetic pressures. This shift challenges traditional gender norms by presenting masculinity as an idealized, consumable image.

Review:

  1. What is Goddard’s main argument about the female gaze?
    • The female gaze reconfigures masculinity by introducing new expectations of physical attractiveness and objectification.
  2. How does the female gaze differ from the male gaze?
    • While the male gaze is often about power and control, the female gaze focuses on aesthetics and desire without necessarily aiming to dominate.
  3. What examples does Goddard give?
    • Goddard discusses advertisements and film scenes where men are depicted as objects of desire, highlighting the shift in how masculinity is portrayed.
  4. What effect does this have on gender roles?
    • It complicates the concept of masculinity by introducing traditionally associated with femininity.
  5. What can be concluded?
    • The article concludes that both the male and female gazes contribute to the construction of social expectations around gender, indicating that objectification is not limited to women.

Kevin Goddard is considered an expert in the field, particularly in the areas of media studies, gender studies, and the sociology of masculinity.

Structure: The structure of Kevin Goddard’s article is clear and logical, with a well-organized flow that guides the reader through complex ideas. It begins with an introduction to the concept of the female gaze, followed by a detailed analysis of how masculinity is constructed and perceived in media.

Quality of Content: The content is of high quality, demonstrating a deep engagement with both feminist theory and masculinity studies. Goddard effectively integrates theoretical perspectives with concrete examples, making the arguments compelling and well-supported. He draws on established scholars like Laura Mulvey while also contributing his own insights, adding value to ongoing academic discussions.

Style: The writing style is scholarly yet accessible, striking a balance between theoretical depth and readability. Goddard uses precise language, avoiding overly complex jargon, which helps to communicate ideas in a way that is understandable to readers who may not be specialists in gender studies. However, at times, the theoretical explanations may require a re-reading to fully grasp his point.  

Is it useful for me?

Yes, Kevin Goddard’s article, „Looks Maketh the Man: The Female Gaze and the Construction of Masculinity,“ is very useful for my purposes, particularly in exploring how gendered gazes function to shape societal perceptions of masculinity and power dynamics. The sections that delve into the female gaze and its impact on the portrayal of men in media are especially relevant for my research.

Additionally, while the article effectively discusses the construction of masculinity, it lacks a deeper analysis of intersectionality, such as how race, class, or sexuality might alter these representations.

Book 2

Malone, Alicia: The Female Gaze. Essential Movies Made by Women.Mango Publishing: Florida 2018, E-Book

Overview:

The book, published in 2018, offers an in-depth exploration of movies directed by women and how they embody the „female gaze“ in contrast to traditional cinematic portrayals shaped by the male gaze. Malone highlights key films made by women and discusses how they shape the portrayal of women, the male characters, and the entire narrative.

Question:

  1. What is the „female gaze“ in cinema, and how is it defined in the context of this book?
  2. How does the female gaze challenge traditional portrayals of women in film?
  3. How does the book connect the feminist movement to the evolution of film by women?

Read:

While reading the book, I focus on sections that explore key films and directors, noting how the book links the cultural and historical context of feminist movements with the films. The sections addressing the treatment of gender and the role of women in these films are particularly valuable for understanding how the female gaze differs from the traditional male gaze.

Recite:

  • The „female gaze“ is a concept where films directed by women bring new perspectives on narrative, power dynamics, and gender roles. The book highlights how women directors challenge stereotypical female roles and portray men in more nuanced ways.
  • Essential films discussed include works by directors like Kathryn Bigelow, Greta Gerwig, and Jane Campion, showcasing how their films provide alternative portrayals of women’s experiences.
  • The book argues that the emergence of female filmmakers and their unique storytelling approach has created space for a broader, more inclusive definition of masculinity, femininity, and sexuality.
  •  

Review:

The book is well-structured with a clear narrative that moves from the historical context of women’s involvement in film to analyzing specific films that exemplify the female gaze. It organizes the films into categories based on themes like female empowerment, complex masculinity, and romantic relationships.

Malone provides insightful commentary, but some sections could benefit from deeper theoretical analysis. While the inclusion of specific films is valuable, a more expansive exploration of intersectionality—particularly with race, class, and sexuality—would have enriched the discussion.

Malone’s writing style is accessible and engaging, making complex feminist film theory approachable for a broad audience. However, the tone sometimes feels more like a general overview rather than a academic critique.

Evaluation:

The book is useful for my thesis because it’s exploring how women directors challenge traditional gender roles and how these films offer new ways of looking at masculinity and femininity. It provides a good introduction to the female gaze in film.

Alicia Malone is a well-known film critic, author, and host, particularly recognized for her work in promoting women filmmakers and advocating for a more inclusive representation of gender in cinema. She has written several books on film and women in cinema, and she frequently appears as a presenter and commentator on film-related topics. While Malone may not have the academic credentials typically associated with „experts“ in the field, she is certainly an established authority in the world of film criticism.

The structure of The Female Gaze: Essential Movies Made by Women by Alicia Malone is clear, well-organized, and accessible. The chapters are arranged around a series of essays, and each section explores specific films or movements, providing both analysis and context. However, the book is more of a survey and celebration of films, rather than a deeply academic or theoretical examination of the female gaze.

Is it useful for me?

Yes, The Female Gaze: Essential Movies Made by Women by Alicia Malone is useful for my purposes. The book highlights the significant contributions of women filmmakers, which aligns with my interest in how female perspectives and narratives are represented in cinema.

It helps to contextualize and define what constitutes the female gaze as distinct from the male gaze, showing how women filmmakers challenge traditional gender dynamics and representation in cinema. The chapters that discuss the historical context of women in filmmaking, as well as the impact of feminist movements on cinema, are also quite relevant. However, while the book does a great job of introducing films and filmmakers, it lacks a deeper theoretical exploration of the „female gaze.“ It focuses more on film analysis and less on the cultural, social, or academic frameworks that underlie the concept.

by lea.haas -

#02 Found my topic?

BREAKING THE MALE GAZE?
THE FEMALE GAZE ON THE MALE GAZE.

After receiving feedback and mentoring, I’ve decided to continue working on the topic of the ‚Male Gaze‘ in film. Given that I encounter it daily and desire more female perspectives in the realm of film, I find it a compelling area to explore further. The exploration of the „Male Gaze“ in film from a female perspective can contribute to understanding and potentially changing the representation of women in the medium. It could also help raise awareness of gender inequality in the film industry.

A lot of different aspects

Exploring the „Male Gaze“ in film from a female perspective involves critically examining how women are portrayed on screen and the impact of this representation on the audience. There are a lot of aspects that I could dive further into like:

  • Historical Context: Explore the historical evolution of the „Male Gaze“ in cinema. How has the representation of women changed over time? Are there specific eras or movements that have influenced these portrayals?
  • Impact on Audience Perception: Investigate how the „Male Gaze“ affects the way audiences perceive women. Consider the psychological and sociocultural implications of repeatedly presenting women through a male-oriented lens.
  • Female Filmmakers and Perspectives: Highlight the work of female filmmakers who challenge or subvert traditional gender portrayals in film. Analyze how their perspectives contribute to a more nuanced and diverse representation of women.
  • Intersectionality: Explore how factors like race, ethnicity, sexuality, and age intersect with the „Male Gaze“ and influence the portrayal of women in film. Consider the experiences of women from different backgrounds.
  • Industry Practices: Examine the behind-the-scenes aspects of the film industry. How do casting decisions, writing, directing, and production contribute to the perpetuation or challenging of the „Male Gaze“?
  • Audience Reception: Investigate how audiences, particularly women, respond to and engage with films that either conform to or challenge the „Male Gaze.“ Do certain portrayals empower or reinforce harmful stereotypes?
  • Changing Trends: Explore contemporary films and movements that actively work against the „Male Gaze.“ Identify examples where the narrative empowers female characters and provides a more authentic representation.
  • Influence on Culture: Consider the broader cultural impact of the „Male Gaze“ in film. How does it contribute to societal norms and expectations regarding gender roles and relationships?
Bibliography
by lea.haas -

#01 Finding the right topic

FIRST TOPIC: The „Male Gaze“ in Film

The term „Male Gaze“ was first described in the 1970s by film critic Laura Mulvey. It refers to a representation of women dominated by the male perspective. In this portrayal, women are often depicted as passive figures without significant value or personality, placed alongside an active male protagonist. Visually, the female character is frequently reduced to her appearance.

Male Gaze is not confined to just films and TV shows; it’s also present in video games, advertisements, social media, and television. This phenomenon persists because there are still significantly more men than women in key roles in the film and television industry, allowing this perspective to prevail. The Male Gaze relies on stereotypical portrayals of men and women, offering viewers limited opportunities for identification due to a lack of diversity in character traits.

It’s essential to understand that the act of looking (Gaze) itself is the consumption of products, and 85% of characters in Hollywood are male. We are compelled to consume the male gaze, whether we like it or not, and it often fails to fully incorporate other sexualities and identities. Non-male characters are used to reinforce a mediocre plot in the name of male power.

An interesting comparison is Margo Robbie’s transformation as Harley Quinn and the subtle changes in costume design when Cathy Yan took over the franchise. Over the course of several films, Harley Quinn evolved from creating the fantasy of a mentally unstable, infantilized villain in extremely short shorts to a character leaving an abusive relationship, finding sisterhood, and saving a woman in distress.

SECOND TOPIC: A24 and the modern horror in film

A24, the American independent entertainment company founded in 2012, has played a groundbreaking role in modern horror films. Known for distributing and sometimes producing influential TV shows and movies like Lady Bird, Moonlight, and Everything Everywhere All At Once, A24 has left a significant mark in the horror genre. Films like Hereditary, Midsommar, and Beau Is Afraid by Ari Aster showcase the company’s pioneering work in modern horror.

In modern horror, the genre serves as a platform to convey important messages and provoke thoughtful reflection. A24’s horror films, including The Witch, The Lighthouse, It Comes at Night, X, and Pearl, go beyond conventional scares. They combine supernatural elements with twisted horror narratives, exploring themes like blind faith, cults, and societal obsessions.

A notable aspect of A24’s horror films is the fusion of supernatural elements with the characters‘ emotional depth. For example, Midsommar and Hereditary delve into human beliefs and cults, intertwining the supernatural with the characters‘ experiences. The protagonists may seem morally ambiguous, yet their struggles are relatable, connecting with audiences on a deeper level.

The effectiveness of these characters lies in the actors‘ ability to visually portray emotions such as grief, trauma, loss, and rejection. By depicting these emotions, A24’s horror films bring the genre to the forefront, creating movies that use human emotions to evoke fear in the audience. This approach has elevated A24 to the forefront of modern horror, prompting viewers to engage with the genre in a more profound and emotionally resonant way.

THIRD TOPIC: The 4th wall in film

The imaginary boundary between the events of a film or theater stage and the audience is known as the „Fourth Wall.“ When actors break this boundary, it’s referred to as breaking the Fourth Wall. In instances where plays, TV shows, and films break the fourth wall, they acknowledge the audience’s existence and directly address it. This action blurs the fictional world with the literal reality of the medium: a group of actors performing in front of a live audience or a camera. Actors can step out of their imaginary reality and address the audience watching them, breaking the fourth wall. While most films and TV shows never break the fourth wall, when the imaginary barrier falls, and a character speaks to the real audience, the filmmaker typically has a specific purpose in mind.

To provide a commentary on the scene, actors may turn towards the camera to comment on events in the story. As this direct address often appears absurd, this technique is prevalent in comedy. Breaking the fourth wall pulls the audience out of a fictional world and may clash with the seriousness of most dramas, thrillers, and action films.

Another way to break the fourth wall is by having a character speak an internal monologue, offering insight into their inner thoughts. While this can break the audience’s suspension of disbelief, narrative films seldom attempt this. However, in documentary films, documentary subjects—or even the filmmakers themselves—can address the camera and speak for themselves.

Some directors, inspired by Bertolt Brecht, aim to highlight the artificiality of the film itself. Actors breaking the fourth wall can acknowledge that they are part of a fiction, drawing attention to the symbiotic relationship between the actor and the audience and effectively engaging the audience in the artwork.

Bibliography

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