Titlebook: Visual and Other Pleasures; Laura Mulvey Book 1989 Laura Mulvey 1989 cinema.feminism.film

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消瘦

Visual Pleasure and Narrative Cinemady at work within the individual subject and the social formations that have moulded him. It takes as its starting-point the way film reflects, reveals and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking and spectacle

畸形

Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by King Vidor’s , (1946) person singular to stand in for the spectator. At the time, I was interested in the relationship between the image of woman on the screen and the ‘masculinisation’ of the spectator position, regardless of the actual sex (or possible deviance) of any real live moviegoer. In-built patterns of pleasur

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Magnificent

Frida Kahlo and Tina Modottiich we hope that they may unite in a single revolutionary consciousness while still preserving intact the identities of the separate motivating forces that run through them’.. Fatal point, we may think as we survey its histories in this century: art corroded and destroyed by politics; politics smoth

Constituent

Film, Feminism and the Avant-Gardeomen’s Movement, has now turned critically towards cinema and, in spite of its brief time span, cinema now has a history that can be analysed from a feminist point of view. For the first time, the consciousness is there, and the body of work is sufficient. The heterogeneity of the cinema as an insti

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