'Cinematic codes create a gaze, a world and an object, thereby producing an illusion cut to the measure of desire. It is these cinematic codes and their relationship to formative external structures that must be broken down before mainstream film and the pleasure it provides can be challenged.’
Laura Mulvey, Visual and Other Pleasures
'As the subject of the gaze, I can also see the gaze of the other; the gaze of the other can also be the object - as long as the other’s gaze is not directed upon me: once this occurs, it is no longer the gaze of the other which is the object, it is myself, the subject of the gaze, who becomes the object of the other’s gaze'
Zizek Slavoj, Everything You Wanted To Know About Hitchcock (But were afraid to ask Lacan)
The gaze is built upon culturally defined notions of sexual difference. There are three looks:
(i) within the film text, men gaze at women, who become objects of the gaze;
(ii) the spectator, in turn, is made to identify with this male gaze, and to the objectify the women on the screen: and
(iii) the camera’s original “gaze” come into play in the very act of filming.
Ann Kaplan
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