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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She does this in order to downplay her transgression and her castration threat. Without this distance, it is impossible for a woman to become a spectator of a feminine image in film.
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Film and the Masquerade: Theorising the Female Spectator | Screen | Oxford Academic
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.
You are commenting using your Facebook account. Your reading intentions are also stored in your profile for future reference. Woman, on the other hand, are taught the same masculine form of language as man, and therefor cannot possibly identify femininity as a separate entity. Film distribution in Greece: If you originally registered with yhe username please use that to sign in.
To set a reading intention, click through to any list item, and look for the panel on the left hand side:. Close mobile search navigation Article navigation.
Here’s an example of what they look like: Approaches to Art History Section: To set a tueorizing intention, click through to any list item, and look for the panel on the left hand side:.
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She posits three modes for female spectatorship:. Create a free website or blog at WordPress. Please log in to set a read status Setting a reading intention helps you organise your reading. Email alerts New issue alert. 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.
Film and the Masquerade: Theorizing the Female Spectator
She is too close to achieve voyeuristic pleasure from gazing at a female object on screen. Film and the Masquerade: ScreenVolume 23, Issue1 SeptemberPages 74—88, https: Soviet cinema and the fantasy of no limits.
What the spectator sees.
This article is also available for rental through DeepDyve. In this scenario, Clarice is powerless and cannot return the gaze, whether she knows she is being watched or not. Follow Blog via Email.
Notes on Mary Ann Doane’s “Film and the Masquerade'”
It makes it easy to scan through your lists and keep track of progress. A man can partially examine himself and successfully define himself in the realm of his language. Your reading intentions are private to you and will not be shown to other users. Theorizing the Female Spectator. Film and the Masquerade: Setting up reading intentions help you organise your course reading. Here’s an example of what they look like:.