Castration anxiety mulvey. Laura Mulvey considers the penis to be a symbol of power.

Castration anxiety mulvey. She argues that an idea of woman stands as lynchpin to the system: We would like to show you a description here but the site won’t allow us. 1941) is Professor of Film and Media Studies at Birkbeck College, University of London. ] Introduction (a) A Political Use of Psychoanalysis This paper intends to use psychoanalysis to discover where and how the fascination of film is reinforced by pre-existing patterns of fascination already at work within the individual This critical review analyzes Laura Mulvey's influential essay 'Visual Pleasure and Narrative Cinema,' highlighting its examination of the representation of women in Hollywood cinema through the lens of psychoanalysis. That is the intention of this article. Our full analysis and study guide provides an even deeper dive with character analysis and quotes explained to help you discover the complexity and beauty of this book. Mulvey further borrows the concept of castration anxiety from psychoanalysis to explain the reason behind men’s treatment of the female identity in visual culture. Mulvey argues that mainstream narrative cinema perpetuates patriarchal ideals via the 'male gaze,' objectifying women and positioning them as passive erotic objects. The analysis also May 31, 2019 · While Mulvey's article is theory-dense, she did not have to spend so much time on Freud and Lacan. May 3, 2014 · Freeland provides a stronger argument for feminist film theory by emphasizing the representations of women and cultural context. She began with the idea of castration anxiety, male anxiety about castration, as given by Freud, and which finds an outlet in fetishisation at times. Mulveyusespsychoanalytic theory as a “political weapon, demonstrating the way th unconscious of patriarchal society has structured film form” (833). The article is concerned with classical Hollywood cinematic films and examines this tradition through the use of some key psychoanalytical theories. Which is not invisible to Hollywood cinema?, Cinema offers ways to overcome castration anxiety by providing and more. ” She sees a thrill in this sort of thing. Freud's analysis of the male unconscious is crucial for any understanding of the myriad ways in which the female form has been used as a mould into which meanings have been poured by a male-dominated culture. Hitchcocks fetishistic need to mould such strong, morally upstanding men-folk in his films whilst literally rubbing dirt into the faces of anyone with a hemline is just dastardly. May 1, 2016 · Laura Mulvey’s 1974 essay ‘Visual Pleasure and Narrative Cinema’ is used by theorists as a basis for developing ideas around issues of the spectator’s gender. Mulvey is also fascinated by the impact of digital technologies on the moving image but does not really explore this beyond the analogue possibility of freezing the image on screen. Parting from the Freudian concept of male castration anxiety, Mulvey said that because the woman does not have a penis, her female presence Jul 25, 2019 · Writer and film-maker Laura Mulvey is widely regarded as one of the most challenging and incisive contemporary cultural theorists, credited for incorporating film theory, psychoanalysis and feminism. ” (Mulvey 1989: 21) The man has two solutions for this: voyeurism or a “re-enactment Castration Anxiety MULVEY ego Flitterman-Lewis childs desire Flitterman-Lewis Oepidal Flitterman-Lewis Film Flitterman-Lewis What is culture based on social experience 3 reasons masculinity would be under threat 1. Her argument centers around four key concepts: scopophilia (which can become However, using the bridge of scopophilia Mulvey quicky arrives at Freuds structure of fetishism, since the gaze finds within its object a disquieting lack (the infamous castration anxiety) and moves beyond this anxiety by, paradoxically, overvaluing (fetishizing) the object, which then, of course, means that the object is once again examined May 4, 2023 · In the literal sense, castration anxiety refers to the fear of having one's genitalia disfigured or removed to punish sexual desires of a child. 832 FILM: PSYCHOLOGY, SOCIETY, AND IDEOLOGY it, “must aim radically towards a kind of distraction which exposes disintegration rather than Jeffrey's sexual curiosity and eventual redemption of Dorothy typify Mulvey's first form of escape: “preoccupation with the reenactment of the original trauma [that initiated the castration Apr 8, 2016 · Filmmaker Laura Mulvey penned an essay for Spare Rib magazine in 1973 that speculated the artist suffered from castration anxiety. This fear ultimately influences cinematography’s portrayal of women. WebAccording to Mulvey, the paradox of the image of woman is that although they stand for attraction and seduction, they also stand for the lack of the phallus, which results in castration anxiety. Castration anxiety is a psychoanalytic concept introduced by Sigmund Freud, referring to a child's fear of losing their genitalia, typically in the context of Oedipal dynamics. Feb 17, 2010 · Mulvey wants to rip apart this coding of beauty, erotic pleasure, to destroy it: “It is said that analyzing pleasure, or beauty destroys it. To cope with this fear, Mulvey claims, traditional Hollywood film genres ensure women maintain passive. Effects in terms of ideational content were measured using selected cards from the In the fields of media studies and feminist film theory, the male gaze is conceptually related to the behaviors of voyeurism (looking as sexual pleasure), scopophilia (pleasure from looking), and narcissism (pleasure from contemplating one's self). This enjoyment is, however, ambivalent, because of the castration anxiety engendered by the sight of Both the old lady and the young female lead in The Lady Vanishes are also good, strong characters. Full text of "Visual Pleasure and Narrative Cinema" See other formats Mulvey, Laura. Laura Mulvey (born 15 August 1941) [1] is a British feminist film theorist and filmmaker. Unpleasure refers to something that should be pleasurable, but is not. Schwartz's (1955, 1956) experimental induction of CAX in a sample of undergraduates. In this work, Mulvey responds to the ways in which video and DVD technologies have altered the relationship between film and viewer. , & Corwin S. Thus certain measures must be taken, according to Mulvey, to counteract this evocation. women with power 2. May 25, 2016 · Mulvey’s “Visual Pleasure and Narrative Cinema” is a seminal piece in discussing the elements of voyeurism and fetishistic scopophila that make up the narcissistic male gaze. Laura Mulvey, Visual Pleasure in Narrative Cinema” It lauched a new direction for film studies. Mulvey proposes that The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete The woman means a threat for the man, she is the evidence of his castration complex: “Thus, the woman as icon, displayed for the gaze and enjoyment of men, the active controllers of the look, always threatens to evoke the anxiety it originally signified. txt) or read online for free. Her ultimate goals are to deconstruct the pleasure of the gaze Sep 27, 2014 · Laura Mulvey Two Options (to deal with castration anxiety) VOYEURISTISTIC SADISM “…pleasure lies in ascertaining guilt (immediately associated with castration), asserting control and subjecting the guilty person through punishment or forgiveness. utter impossibility of ideal masculity Fiske's ways of reading Dominant The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystify- ing her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir ); or else complete The Concept of Castration Anxiety Mulvey discusses how the male unconscious seeks to escape the fear of castration through two primary mechanisms: sadistic voyeurism and fetishistic scopophilia. She was educated at St Hilda's College, Oxford. The sexism is real and obvious (just look at Bus Stop (Joshua Logan 1956)), and in need of no theory to highlight. The findings suggest that the episode reinforces patriarchal values by positioning male characters Visual Pleasure and Narrative CinemaVisual Pleasure and Narrative Cinema Laura Mulvey [This article originally appeared in Screen 16:3 (Autumn 1975), 6-18. ” She wants, in part, to “conceive new language of desire. This term denotes the anxiety produced in males by the fact that women are without a phallus—women come to represent, on an unconscious level, the threat of castration. Mulvey explains “the paradox of phallocentrism in all its manifestations is that it depends on the image of the castrated woman to give order and meaning to its world” (833). Appears during phallic stage of development. She previously taught at Bulmershe College, the London College of Printing, the University of East Anglia, and the British Film Institute. Visual Pleasure and Narrative Cinema study guide contains a biography of Laura Mulvey, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Sep 1, 2022 · This article builds upon Laura Mulvey’s idea of the Male Gaze to conduct a feminist reading of the video game series Batman: Arkham (2009-2015). Oct 31, 2024 · Explore the concept of castration anxiety, its psychological roots, effects on behavior, and real-life examples to better understand this complex topic. Mulvey - Free download as PDF File (. Sep 14, 2016 · Laura Mulvey begins “Visual Pleasure and Narrative Cinema” by stating her goal to “discover where and how the fascination of film is reinforced by preexisting patterns of fascination already at work within the individual subject and the social formations that have moulded him,” and promptly asserts that psychoanalytic theory is the proper “political weapon” necessary to complete Oct 5, 2011 · Mulvey states that one of the methods for the male unconscious to escape castration anxiety is the “preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object. The two ways that castration 2 days ago · Operationalizing Mulvey’s essay involves: (i) setting up referring expressions rich in descriptive content that identify the observable features of film that Mulvey’s essay denotes; and (ii) presenting rule-bound procedures to follow in order to apply those referring expressions to a new film example. Leo Braudy and Marshall Cohen. ” (Mulvey, 1999: 28). scopophilia as well as castration anxiety. WebCastration anxiety is the conscious or unconscious fear of losing all or part of the sex organs, or the function of such. When Sherman depicts femininity as a masquerade in her succession of ‘dressings-up’, the female body asserts itself as a site of anxiety that it must, at all costs, conceal. Ss saw 1 of 3 films: a documentary on aboriginal penile subincision; a semidocumentary illustrating the loss of love, or a Charlie Chaplin film. ” Women are represented eithr as passive appoendages of men, or as ideally desirable bodies, larger than lifecultural icon, “stars” In this dual function, they serve both s an image of castration Aug 22, 2014 · Female objectification and addressing of the castration anxiety “the absence of a penis, implying a threat of castration,” (Mulvey 840)) are elicited in the first scene of the film. pdf), Text File (. But they also represent a simple yet challenging form of cinema that invites the viewer into an unglamorous world of pure raw emotions. Sep 1, 2018 · Mulvey outlines Freudian theories on the modes of pleasure that are derived from viewing scopophilia and phallocentrism (castration anxiety) as a patriarchal means to explain why western cinema is In psychoanalytic terms, Mulvey continues, women's lack of phallus signifies the threat of castration for male characters and male viewers who instinctively identify with the protagonist. Many of the elements of the film were decided once production began. often sexualized, Mulvey believes that the “The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma … or else complete disavowal of castration by substitution of a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than Women's bodies signify to men the possibility of castration: the fetishist is fixated by castration anxiety; hence, in his fantasies, the woman must be brought together with phallic substitutes (in an act of narcissistic completion) or punished for her lack of phallus (in an assertion of difference). The resulting effect is a persistent phallocentrism in cinema. The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery) counterbalanced by the devaluation punishment or saving of the guilty object (an avenue typified by the concerns of thefilm noir); or else complete disavowal Phallus and Castration Anxiety Symbolic Power: Psychoanalytic theory, particularly the work of Sigmund Freud, plays a significant role in Mulvey's arguments. [11] The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete . The article investigates why portrayal of the women characters in video games is always problematic and how Batman: Arkham franchise Mar 7, 2018 · The male unconscious has [as one of] two avenues of escape from this castration anxiety: . This sadistic side fits in well with narrative. J. Returning to the origins of the essay and the concept of the ‘male gaze’, Mulvey explores the cultural climate of feminism and Hollywood which drove the conception of this now-cult term and the newer, controversial term ‘female gaze’. WebIn Visual Pleasure and the Narrative Cinema, Laura Mulvey argues that the physical absence of the penis from womens bodies creates castration anxiety in the men that gaze upon Sarnoff, I. Pointing out sexism in cinema is perfectly possible without invoking castration anxiety or a mirror stage. The phallus symbolizes power within a patriarchal society, while castration anxiety represents the fear of losing this power. Apr 13, 2017 · Laura Mulvey (b. In the metaphorical sense, castration anxiety refers to the idea of feeling or being insignificant; there is a need to keep one's self from being dominated; whether it be socially or in a relationship. male form in a symbolic order in which, in the last resort, it speaks castration and nothing else. Laura Mulvey’s essay “Visual Pleasure and Narrative Cinema” originally appeared in the autumn 1975 issue of the British film journal, Screen. The figure of the woman in classical cinema becomes key here as she is posi-tioned either as a spectacle, “to-be-looked-at-ness”, or as a reminder of female lack, mobilizing castration anxiety. cas-tration anxiety. Finally, Mulvey borrows from psychoanalysis the concept of the castration complex. Her fetishized image “connotes something that the look continually circles around but disavows: her lack of a penis, implying a threat of castration and hence unpleasure. Mulvey utilises Freudian theories about castration anxiety and scopophilia to explain the fascination of film for the male spectator. Amongst other topics, she includes an analysis of the films Citizen Kane, Xala and Blue Velvet. This threat leads to the subsequent desire to control or possess the woman onto which the anxiety of castration has been projected. The opening narration reveals that one of violence’s favorite disguises is sex, and we are then invited to examine, “this dangerously evil creation, this new breed encased and contained in the supple skin In the Freudian patriarchal Oedipal narrative, girls suffer from 'self-realization crisis' or 'penis envy' '' and boys from 'castration anxiety'. Yet her arguments about the way men and women are depicted in films are Oct 2, 2021 · The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma […] or complete disavowal of castration by the substitution of a fetish object so it becomes reassuring rather than dangerous. organization of capitalism 3. It examines how women are typically portrayed in film as objects for the male gaze and how this relates to Freudian concepts of scopophilia and castration anxiety This video provides a closer look at the psychoanalytic underpinning's of Laura Mulvey's essay "Visual Pleasure and Narrative Cinema," a major work in film studies best known for the concept of Mulvey further borrows the concept of castration anxiety from psychoanalysis to explain the reason behind men’s treatment of the female identity in visual culture. Mulvey labels this desire as that of sadism, which she argues aligns well In order to alleviate the anxiety of castration, two mechanisms are employed: fetishism and voyeurism. (1975, 32) In Mulvey's examples, Vertigo and Rear Window, looking is isolated from doing and linked to a physical disability, echoing the castration anxiety. Mulvey holds that women on screen arouse castration anxiety in men. Get ready to explore Visual Pleasure And Narrative Cinema and its meaning. To summarise briefly: the function of woman in forming the patriarchal uncon-scious is two-fold, she first symbolises the cast. It explores how Mulvey's concepts of phallocentrism, fetishistic scopophilia, and the manipulation of the gaze manifest in modern media narratives. This fear is often viewed as a fundamental part of male psychological development and is believed to influence feelings of inadequacy, aggression, and competition with paternal figures. Vertigo can mean falling uncontrollably; James Stewart has a camera and a rear window, but also a broken leg and seeming helplessness before a crime. British Film Institute, 1980. Though the notion of castration in psychoanalytic theory is figurative—it denotes, simply, woman's lack of a phallus and men's anxiety over that threat—the imagery associated with castration is nonetheless unsettling. Jun 11, 2021 · In the essay “Visual Pleasure and Narrative Cinema,” Laura Mulvey structures her argument around two crucial ideas, titled “Pleasure in Looking/Fascination with the Human Form,” and “Woman… Continue reading → Explaining Psychoanalytic Theory in Laura Mulvey’s “Visual Pleasure and Narrative Cinema” Laura Mulvey's Visual Pleasure and Narrative Cinema (1975) was written during the second wave of feminism and was first published in the British film theory journal: Screen, 16, 3. The review The sadism, as mentioned before, is also a way to mitigate castration anxiety. Eds. , (1959) Castration anxiety and the fear of death. It discusses the dynamics of scopophilia and the traditional narrative framework that positions men as active spectators while women are objectified for visual pleasure. 5 Neale, Stephen. Oct 1, 2021 · Laura Mulvey's and Chantal Akerman's works form an essential foundation for women's cinema both in theory and in practice. Mulvey attributes this phenomenon to the development of the male ego through identification with the male protagonist, whilst the desire to control Woman manifests from castration anxiety. Laura Mulvey's theory of castration anxiety (influenced by Freud) looks at a person's unconscious thoughts and states that as women in Hollywood films are objectified and placed in a subservient position to males, this unconsciously identifies male power and dominance over females through their penis and therefore if a woman is not subservient Jan 1, 2015 · Mulvey connects the situation and placement of the viewer within the cinema back to Freud’s castration complex, relating to children’s fascination, voyeurism and instincts of sexuality. The cinema offers a number of possible pleasures. In contrast, men have castration anxiety because they fear losing their penises. With cinema as her main consideration, Mulvey investigates the Hollywood cinema produced by the studio system. Castration anxiety MULVEY when a male recognizes a female as a terrifying vision of himself without his genitals female gaze COHEN flip object and perspective onto cis males Changes when film is shot by a woman, "reclaims the body to evoke feeling, uses the camera to show how it feels to be the object of the gaze, and returns the gaze onto cis Laura Mulvey argues that classical Hollywood cinema is structured to provide visual pleasure for the (presumed male) viewer by objectifying and fetishizing the female form. The document discusses how psychoanalysis has been used as a political tool to analyze how patriarchal societies have unconsciously structured film. The concept is particularly This paper revisits Laura Mulvey's seminal work on visual pleasure in narrative cinema, examining the mechanisms of the male gaze and its implications for the representation of women in Hollywood films. Like Mulvey, Christian Metz has argued that certain cinematic techniques, certain framings and camera movements, may be fetishistic because they have a censoring function that disavows castration anxieties: "Cinema with directly erotic subject matter deliberately plays on the edges of the frame and the pro-gressive, if need by incomplete revelations allowed by the camera as it moves, Sep 12, 2020 · Mulvey states in her essay in Freudian terms that the woman’s “lack of a penis… [implies] a threat of castration, and hence displeasure,” going on to state that “the woman…always threatens to evoke the anxiety [she] originally signified. In Hands of the Ripper Anna is the killer, the murders she commit pushes the narrative forward, but Anna’s actions are allowed to continue and are managed by the As Mulvey has it, the gaze in film is male and the sight of the female body to this male gaze not only arouses scopophi lic pleasure in the gazing spectator but also threatens to evoke castration anxiety. Hello again, While doing some class reading on feminist theory i came across this quote from Mulvey A recent tendency in narrative film has been to dispense with [the dread of castration anxiety] altogether; hence the development of what Molly Haskell has called the ‘buddy movie,’ in which the active homosexual eroticism of the central male figures can carry the story without distraction By Na Ma, Ohio University Abstract In classical East Asian cinema, especially in action movies, feminism represents a point of “female sense” (Mulvey, 235) to the definition of her powerlessness an… Far from being a woman, even a monstrous woman, the Medusa is the sign of a male castration anxiety. She claims that narrative films are organized around the male gaze and the active male protagonist, positioning women as passive objects of this gaze which satisfies unconscious castration anxiety. Study with Quizlet and memorize flashcards containing terms like Castration anxiety was first noticed by, Cinema contains three looks, the camera on the event, the audience on the subjects, and the characters on each other. Genre. Essentially, castration anxiety can lead to a fear of death, and a feeling of loss of control over one's life. Castration anxiety can also refer to being castrated symbolically. The analysis applies Laura Mulvey's feminist film theory to the television series Doctor Who, specifically the episode featuring the Weeping Angels. Mulvey argued that old classical narrative films are tailored to the male POV, “the Male Gaze. This study guide refers to the reprint of the essay included in Mulvey’s book Visual and Other Pleasures (Palgrave Macmillan, 2nd edition 2009). Estudia con Quizlet y memoriza fichas que contengan términos como Visual Pleasure and Narrative Cinema Laura Mulvey I Introduction, B. Part of the pathbeating 1970s generation of British film theorists and independent film-makers, she came to prominence with her classic essay on the pleasures – and displeasures – ofnarrative May 13, 2023 · Castration anxiety is an overwhelming fear of damage to, or loss of, the penisa derivative of Sigmund Freud's theory of the castration complex, one of his earliest psychoanalytic theories. y muchos más. Oedipus complex- sexual desire for opposite sex parent, caused by a form of castration anxiety in males and penis envy in girls. New York: Oxford UP, 1999: 833-44. Aug 9, 2013 · The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete Reviews major theory and research on castration anxiety (CAX) and summarizes B. Mulvey attempts to make a feminist political… On top of this, Mulvey argues that psychoanalytically, women symbolically represent castration, and thus, “threatens to evoke [castration] anxiety” of the male spectators (Mulvey 64). ” Mar 16, 2014 · Mulvey’s essay applies a psychoanalytic perspective to film and representations of women in film. She is the author of Visual and Other Pleasures (1989), Fetishism and Curiosity (1996), Citizen Kane (1992) and Death 24x a Second (2006). Sep 6, 2024 · In this 10-Minute talk, Laura Mulvey FBA responds to three key questions regarding her 1975 essay ‘Visual Pleasure and Narrative Cinema’. During the 2008–09 academic Nov 3, 2016 · Laura Mulvey’s discusses how the male-run film industry has always demonstrated its own specific set of values through the movies that it has produced in her essay “Visual Pleasure and The male unconscious has two avenues of escape from this castration anxiety preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery) counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete disavowal Mar 16, 2015 · Emotional Control or Compromise?: On Mulvey and Vertigo In her 1975 work of feminist theory “Visual Pleasure and Narrative Cinema,” Laura Mulvey attempts to make sense of the inherent misogyny present in Hollywood, basing her arguments on fundamental concepts in Freudian and Lacanian psychoanalytic theory. It is this paradox which, formed by the representation or image of the woman, links castration anxiety to male spectatorship. This collection explores the concepts of fetishism as developed by Marx and Freud. Castration Complex Mulvey relies on the psychoanalytic concept of castration throughout her essay. [8], To feel so powerless can be detrimental to an individual's mental health. She is currently professor of film and media studies at Birkbeck, University of London. . Dec 6, 2018 · Moreover, for Mulvey, the image of woman is also complex because of the fact that it evokes “castration anxiety”: That can be interpreted as woman is not just a image of/for pleasure, but also The male unconscious has two avenues of escape from this castration anxiety: preoc¬ cupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete Both the voyeurism and fetishism analyzed in her earlier work become ways of possessing and being possessed by the female body in pieces, which in classic fetishist mode, both evokes and soothes castration anxiety. When the sculptures were shown in 1978 at the ICA London, there were protests, and when they went on display at the Tate in 1986 a visitor threw acid on them. ” It is telling then that Malloy learned the art of cunalingus from an older woman when he was young The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery), counterbalanced by the devaluation, punishment or saving of the guilty object (an avenue typified by the concerns of the film noir); or else complete Apr 8, 2016 · Filmmaker Laura Mulvey penned an essay for Spare Rib magazine in 1973 that speculated the artist suffered from castration anxiety. Clearly Mulvey hoped that her own films would be a part of this new cinema but it is evident from the continued dominance of traditional fiction film that the pleasures that she hoped to destroy keep coming back. Destruction of Pleasure as a Radical Weapon, II Pleasure in Looking/Fascination with the Human Form A. Laura Mulvey considers the penis to be a symbol of power. It could be argued that it is possible in Ripper fi lms for the female character to drive the narrative—by placing them as the Rip er or the detective. Sadistic voyeurism involves deriving pleasure from the suffering or punishment of women, reinforcing male dominance. M. This will lead to the fear associated with bodily injury in castration anxiety, which can then lead to the fear of dying or being killed. It does so by using Bechdel Test to analyze the depiction of the major female characters appearing in the series. ” Film Theory and Criticism : Introductory Readings. And in these circumstances, how the female body, the original provoker of castration anxiety, is represented may be symptomatic and revealing. complete disavowal of castration by the substitution of a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than dangerous’ (Laura Mulvey on fetishism, 1975). Laura Mulvey’s main argument is that women want to have a penis to alleviate castration anxiety because of a lack of penises. “Visual Pleasure and Narrative Cinema. For Mulvey, the gaze is coded male: “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. Chen has said that “In the mid-1970s, as Laura Mulvey formulated her psychoanalytic theory of "the gaze"—that is, the psychic mechanism that reshapes male fear of castration by objectifying women on the screen —a conceptual tool that would be deeply influential in film theory and feminist theorizing more generally, feminist activists analyzed and attacked the objectification of women Study with Quizlet and memorize flashcards containing terms like Laura Mulvey—how does she use the concepts of narrative and spectacle?, Laura Mulvey—What are two ways of dealing with castration anxiety produced by the image of the woman?, Laura Mulvey—How is her analysis specific to cinema? and more. ahv axp zirrvq xtx8 c4myi a1g8tn fjq ifssiz 5id bb1i