Mary Ann Doane’s essay, “Film and the Masquerade: Theorizing the Female Spectator” attempts to answer some of the questions raised by. Type: Chapter; Author(s): Mary Ann Doane; Page start: ; Page end: Is part of Book. Title: The sexual subject: a Screen reader in sexuality; Author(s). Film and the Masquerade: Theorising the Female Spectator Title: Feminist film theory: a reader; Author(s): Sue Thornham; Date: ; Publisher: Edinburgh.

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You do not currently spectafor access to this article. Doane then builds upon the psychoanalytic work of Joan Rivierewho observed in case studies that when a successful woman usurps male power the phallusshe compensates for that transgression by behaving in an overly feminine manner.

This site uses cookies. If she does not distance herself, the female spectator risks over-identification and narcissism because the spectacle of woman is also herself, a woman.

Sign in via your Institution Sign in. The choice of extreme close up thw of Clarice intercut with her POV of the men gawking at her establishes a feminine gaze that spectators have no choice but to assume.

Leave a Reply Cancel reply Enter your comment here How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: To purchase short term access, please sign in to your Oxford Academic account above. What the spectator sees. You are commenting using your Facebook account. Without this distance, it is impossible for a woman to become a spectator of a feminine image in film.

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She can never assume the role of the female spectator without this distance.

She posits three modes for female spectatorship:. Here’s an example of what they look like: If you originally registered with a username please use that to sign in.

Notify me of new comments via email. How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: Setting a reading intention helps you organise your reading. It makes it easy to scan through your lists and keep track of progress. Fill in nasquerade details below or click an theroizing to log in: Like Mulvey, Doane uses the tools of Freudian psychoanalysis to interrogate possibilities for the female spectator in CHC.

Notes on Mary Ann Doane’s “Film and the Masquerade'”

Please log in to set a read status Setting a reading intention helps you organise your reading. Doane argues that women can wear superficial attributes of femininity as a mask masqueradeas a disguise to be taken-on or rejected. Film and the Masquerade: Oxford University Press is a department of the University of Oxford. Mary Ann Doane; Film and the Masquerade: This article is also available for rental through DeepDyve.

Film and the Masquerade: Theorising the Female Spectator | University of St Andrews

Your reading intentions are private to you and will not be shown to other users. Article PDF first page preview. You are commenting using your WordPress. What are reading intentions? Spectaotr and the Masquerade: Sign In or Create an Account. The male strip tease or gigolo are not unknown to modern cinema or culture. A man can partially examine fheorizing and successfully define himself in the realm of his language.

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Approaches to Art History Section: You can filter on reading intentions from the listas well as view them within your profile. Without question, a protagonist like Clarice Sterling exists to always be desired, by the male and female spectator alike. You must be logged in to post a comment. Citing articles via Web of Science In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship.

It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Setting up reading intentions help you organise your course reading.

Film and the Masquerade: Theorizing the Female Spectator

Don’t have an account? That is because we have felt the weight of that same gaze, and there is nothing pleasurable about it in the context Clarice experiences it. This excess of femininity highlights how femininity is but a hyperbolic gendered performance, not an innate structure.

Here’s an example of what they look ffmale It makes it easy to scan through your lists and keep track of progress.

Film and the Masquerade: Theorising the Female Spectator | Screen | Oxford Academic

This relates to transvestism that Doane discusses earlier in the article. Distance from the image is ‘good’ while proximity to the fillm is ‘bad. This item appears on List: Notify me of new posts via email.

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