... University of Southern California Laura Mulvey Under the influence of the Women’s Movement, my experience of cinema changed, and I became aware of the “female spectator” first as a dilemma within myself. Until then, I had loved Hollywood films, more or less...

... City, 1980. Appearing from left to right: Roz Baxandall, Cathy Nonas, Yvonne Rainer, B. Ruby Rich, Vanalyne Green, Joan Braderman. Photograph by Jerry Kearns A R C H I V E F O R T H E F U T U R E Mulvey’s Legacy Yvonne Rainer In my performance course...

... Readings (1993). She edited America First: Naming the Nation in US Film (2007) and After Diana (1998), and she coedited (with Chris Townsend) The Art of Tracey Emin (2002) and (with Naomi Segal and Elizabeth Wright) Coming out of Feminism? (1998). Photo courtesy Ron Hagell Mulvey’s Manifesto...

...Laura Mulvey Copyright © 1993 by Indiana University Press 1993 Xala, Ousmane Sembene (1974): The Carapace That Failed Laura Mulvey The film language of Xala can be constructed on the model of an African poetic form called “sem...

...Laura Mulvey Copyright © 1990 by The Johns Hopkins University Press 1989 ...

...Amelia Jones Vision and Difference: Femininity, Feminism and the Histories of Art , Griselda Pollock. London and New York: Routledge, 1988. Visual and Other Pleasures , Laura Mulvey. Bloomington and Indianapolis: Indiana University Press, 1989. Love for Sale: The Words and Pictures...

... published the famous essay by Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975). Although Mulvey spoke not one word about the difference of the female spectator, everything she wrote about the dominance of the masculine gaze and the fetishistic and voyeuristic...

... it of its power and meaning. The film brings to light the way the look has been controlled and con- tained not only by film in its practice of representation but by film theory in its application. As a result, the film emphasizes the need, as Laura Mulvey has put it, to free the look of both camera...

... that tension as leading to a more generative reading, one with transformational power both for the text and the spectator. Laura Mulvey’s (1975) ground-breaking essay and the pioneering work of other British feminists like Claire Johnston (1976) and Chris- tine Gledhill (1978...

... on texts they obviously hate; I find it far more interesting to figure out how a text attracts and manipulates those who like it.) Influenced by the dominant theoretical work of the time (Mulvey, Bellour), I was quite prepared to find that the texts I was analyzing...

... which ignored all questions of female subjectivity. (This was the same issue of Screen in which Metz’s “The Imaginary Signifier” was published.) In the following issue of Screen, Laura Mulvey’s extremely influential essay, “Visual Pleasure and Nar- rative Cinema,” appeared...

... the degree to which one can know something without quite being aware of it. Nevertheless, many years later in graduate school, read- ing Laura Mulvey’s remarks about Dietrich in her essay “Visual Pleasure and Narrative Cinema,” I was struck with a question. Why did Mulvey not admit in her...

... for my early considerations on the topic. Written in 1978, my essay “Why Women Go to Men’s Films’’ first appeared in 1980 in a collection that included the German translation of Laura Mulvey’s essay on “Visual Pleasure.” In it I argued that the valorization of gender was a social issue...

... of mainstream cinema. We saw film as a radical weapon with which we hoped to change women’s view of society and of their place within that society.* My growing fascination/obsession with the question of the female spectator was inspired by Laura Mulvey’s (1975)visual...

... framework published in Screen by Laura Mulvey in 1975 was marked by a specific passage from Freud, updated via Lacan, in concert with a close analysis of the films of 236 Alfred Hitchcock and Josef von Sternberg-then thought to be great but misogynistic directors. The critical Freudian...

...Jacques Aumont; D.N. Rodowick Colin MacCabe, with Mick Eaton and Laura Mulvey, Godard: Images, Sounds, Politics. (Bloomington: Indiana University Press, 1980. BFI Cinema Series. Copyright © 1982 by Camera Obscura 1982 Book Reviews Godard: Images, Sounds, Politics Ja cqu es...

... the modernist art film. Pred- icated as it is on the primal scene, the ancient tale of Oedipus has a heterosexual bias which Italian cinema reroutes into a homoerotic direction. According to Laura Mulvey, Hollywood cinema articulates sexual difference through a division of labor: man is in charge...

... by feminist theoreticians, prompted by Laura Mulvey’s work on Fetishism and Curiosity (1996) and her call for a reinterpretation of the tale of Pandora’s Box. The Roswell Autopsy is a grainy monochrome film of a dissection performed on an apparently non-human, yet female, corpse. It fasci...

... developed in the mid-1970s as a result of encounters with Laura Mulvey’s (1975) watershed essay on visual pleasure and other work employing psychoanalysis as the dominant approach to the cinema (e.g., Bellour 1977). This work introduced me to psycho- analysis as a powerful...

... Althusserian Marxism and Lacanian psychoanalysis. As has often been noted," Laura Mulvey's influential essay "Visual Plea• sure and Narrative Cinema"! established a framework for feminist work on the cinematic spectator. Mulvey theorized the ways in which dominant Hollywood cinema, through its narrative...