Background[ edit ] The concept of the male gaze was first developed by the feminist film critic Laura Mulvey in the essay "Visual Pleasure and Narrative Cinema"in which she proposes that an asymmetry of power between the sexes is a controlling force in cinema; and that the male gaze is constructed for the pleasure of the male viewer, which is deeply rooted in the ideologies and discourses of patriarchy. The perspective of the male gaze occurs when the camera places the viewer in the perspective of a heterosexual man whose sight lingers on the curves of a woman's body. The passive-object and active-viewer pairing is basic to the patriarchal order, and is typical in the "illusionistic narrative film" of mainstream cinema, where the male gaze has precedence over the female gaze — the underlying asymmetry of social and political power, between the sexes.
The monstrosity of the gaze: Retrieved Sep 12 from https: The Monsters and the Critics," J.
|The Gaze a Critical of the Female Figure in Art and Advertising | Free Essays - grupobittia.com||These early versions of gaze contain none of the analytical implications that the word now invokes in contemporary criticism; why the sudden shift in meaning? Before the twentieth century, the gaze was noticed insofar as it functioned within its particular medium; for example, early critics recognized when gazes were returned or reflected in a painting but their analysis rarely extended beyond the canvas itself.|
The conception of many of his own monsters reveals an underlying classical Christian doctrine that declares that evil is not created as an autonomous force; rather, it is only the perversion of good.
Therefore, evil functions as a kind of parasite, corrupting the pure for its own dark purposes. As Frodo reminds Sam, "the Shadow [ Some monsters of Middle-earth seek to guard the passages that allow the progress of the good, some seek to feed on the good to satisfy their dark lusts, and some seek to possess the good in order to corrupt it to their own evil wills.
Interestingly, Tolkien empowers many of his monsters with the weapon of vision as they struggle to achieve these ends. This creature is believed to have been a Kraken bred by Morgoth in Utumno "Watcher". According to Joseph Campbell in his book, The Power of Myth, "metaphorically, water is the unconscious, and the creature in the water is the life or energy of the unconscious, which has overwhelmed the conscious personality and must be disempowered, overcome, and controlled" As the Company stands at the edge of the water trying to figure out the password to open the doors of Moria, Boromir awakens the monster asleep in the lake by throwing a stone.
As many familiar with the nature of horror such as Alfred Hitchcock know, that which cannot be seen is often much more threatening than that which is visible.
To see a thing is, in a sense, to have a measure of control over it, to have some power to resist it. Frodo expresses his sense of helplessness as he feels, rather than sees, the presence of the monster: I am afraid of the pool. At the moment the password is discovered and the doors are opening, the Watcher in the Water emerges from the pool and seizes Frodo.
Campbell explains, "In the first stage of this kind of [unconscious] adventure, the hero leaves the realm of the familiar, over which he has some measure of control, and comes to a threshold, let us say the edge of a lake or sea, where a monster of the abyss comes to meet him" In addition to the water-monster, the hobbits must contend with Shelob the spider, also referred to at times as "The Watcher" LotR This monster seeks not to guard, but to feed her insatiable gluttony, like her mother, Ungoliant, who, in The Silmarillion, turns from her service to Morgoth to serve only herself.
Ungoliant consumes the light of the two trees of Valinor and belches out impenetrable darkness through which even the most powerful cannot see.
I can feel something looking at us" Again, not being able to see the monster compounds their sense of powerlessness.
It is interesting that Tolkien employs this synecdoche, indicating through his choice of the plural possessive "their" that the prey belongs, not to "her" Shelobbut to her eyes.
Her gaze holds Frodo and Sam, and the text indicates initially that it is not Shelob as a whole monster, but only her eyes that threaten the hobbits: Sam asks, "Have those eyes come back?
But I still feel that they are looking at me, or thinking about me: When Sam attacks Shelob, he slashes at her eyes, and "[O]ne great eye went dark" Through the use of the Gaze, I will be analyzing how females are actually empowered by changing the traditional structure of the gaze, and the ways we make meaning.
In 19th century Paris, the marketing of newly introduced department stores, cafes, and night clubs helped bring about a new cultural shift that offered a development for traditional.
The “gaze” is a term that describes how viewers engage with visual media.
Originating in film theory and criticism in the s, the gaze refers to how we look at visual representations. The Monstrosity of the Gaze: Critical Problem s w ith a Film Adaptation ofTh e Lo r d o f t h e Rin g s A llis o n H a r l In the essay, "Beowulf: The Monsters and the Critics," J.R.R.
Tolkien contends with early critics who debunk the poem's poetic and structural artistry: "[T]he monsters are not an inexplicable blunder of taste; they are essential.
“If thou gaze long into an abyss, the abyss will also gaze into thee” — Nietzsche, Beyond Good and Evil The range of meaning of the verb “to see” is so vast that a typical thesaurus contains a list of fifty-odd synonyms, among them “to look, glimpse, eye, notice, stare, etc.”.
As both an academic and an artist (wow, how many blog posts have I written/will I write that start off like this?), I’ve noticed that having a fine-tuned critical gaze is very important and useful, but it also has its downsides. On the academic side, my ability to critique works and ideas has been a great help.
In critical theory, sociology, and psychoanalysis, the gaze (translated from French le regard) is the act of seeing and being seen. Numerous existentialists and phenomenologists have addressed the concept of gaze beginning with Jean-Paul Sartre.