![]() ![]() ![]() So, that raises the question: can there be a "female gaze" to counteract its current one? The "male gaze"? Or can the auteur's ability to frame bodies, female or male, change this perspective? Where does the gender of the auteur come into play? Or, is the inherent use of the camera by someone like Jane Campion challenging the institutional sanctions of the "male gaze" merely by creating new views and frames? Posing these questions alone suggests a myriad of dynamics at play here. In doing so, the framing cloaks every image in its inherent masculine point of view, as Mulvey suggests. This is especially significant in how female bodies are conveyed through the camera apparatus. According to film scholar Laura Mulvey, the "male gaze" is defined by the viewing experience of films centered around male pleasure and point of view as per her article "Visual Pleasure and Narrative Cinema." Cinema's history and visual composition, according to Mulvey, is shaped by a voyeuristic way of scrutinizing, meant to cater to the male perspective. ![]()
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