Visual Pleasure and Narrative Cinema

Introduction

Mulvey begins by explaining her intention to use psychoanalysis as a political weapon to reveal
the unconscious of patriarchal society and its hold on the film industry. She argues that the
representation of women in film is tied to the patriarchal order and that feminist analysis can
expose and challenge this structure.

Section I: Destruction of Pleasure as a Radical Weapon

Mulvey asserts that the enjoyment derived from classical Hollywood cinema needs to be
understood within the context of patriarchal ideology. She argues for the destruction of this kind
of pleasure as a radical political act. The goal is to dismantle the patriarchal system by critically
analyzing its most pleasurable forms of entertainment.

Critical Explanation:

This section sets the stage for Mulvey’s argument by positioning her critique within feminist and
psychoanalytic frameworks. She aligns herself with feminist movements aiming to challenge the
status quo, advocating for an active, critical approach to consuming media.

Section II: Pleasure in Looking/Fascination with the Human Form

Mulvey introduces the concept of scopophilia, the pleasure in looking, drawing on Freud's
theories. She explains that in a patriarchal society, this pleasure is gendered. Men are active
viewers, while women are passive objects of the gaze.

● Scopophilia: Derived from Freud, this concept describes the pleasure of looking at
others as objects, an instinctual pleasure in controlling the visual field.
● Narcissism and Ego Identification: This involves the viewer identifying with the male
protagonist, aligning the viewer’s gaze with the male character’s perspective.

Critical Explanation:

Mulvey uses psychoanalysis to explain how visual pleasure is structured by gender dynamics.
She argues that cinema reinforces male dominance by making women the object of a
controlling, voyeuristic gaze.

Section III: Woman as Image, Man as Bearer of the Look

In this section, Mulvey discusses how women are positioned as passive images while men are
active agents. She explains two types of looking in cinema:

● Voyeurism: Where the male gaze derives pleasure from looking at the female figure as
an object.
● Fetishistic Scopophilia: Where the female body is transformed into a fetish to alleviate
castration anxiety.

Critical Explanation:

Mulvey's use of psychoanalytic terms elucidates how cinema perpetuates gender inequalities.
By making women passive objects, films deny them agency and reinforce male power. Mulvey's
argument is that the very structure of cinematic pleasure is predicated on patriarchal norms.

Section IV: The Two Routes of Escape from Castration Anxiety

Mulvey outlines two strategies employed by classical cinema to deal with the castration threat
posed by women:

● Sadistic Voyeurism: Investigating and punishing the woman, thereby reasserting male
control.
● Fetishistic Scopophilia: Overvaluing the woman to mitigate her threatening nature,
turning her into a comforting object.

Critical Explanation:

This section deepens the analysis by exploring the psychological mechanisms behind the male
gaze. Mulvey shows how these mechanisms manifest in film narratives and visual styles, thus
reinforcing her thesis about the inherently patriarchal nature of cinema.

Section V: Summary of the Arguments and Implications for Film Theory

Mulvey concludes by summarizing her arguments and emphasizing the need for new ways of
making and consuming films that disrupt the patriarchal order. She calls for a feminist
counter-cinema that challenges traditional narrative structures and visual pleasure.

Critical Explanation:

In her conclusion, Mulvey underscores the political implications of her critique. She advocates
for radical changes in both film production and theory, encouraging filmmakers and audiences to
reject the passive consumption of patriarchal media and instead engage in a critical, feminist
reappropriation of visual culture.

Critique of Mulvey’s Essay

While Mulvey's essay is foundational, it has faced several criticisms:

 ● Deterministic View: Critics argue that Mulvey’s analysis is overly deterministic,
suggesting that all viewers engage with cinema in the same way and that the male gaze
is inescapable.
● Lack of Agency for Women: Some feminist critics believe Mulvey doesn't account for
women's capacity to resist and subvert the male gaze.
● Limited Scope: Mulvey’s focus on classical Hollywood cinema has been seen as
limiting, ignoring other forms of cinema and cultural contexts where different dynamics
might be at play.
● Evolution of Cinema: Since the essay's publication, there have been significant
changes in the film industry, with more diverse representations and more female
filmmakers challenging traditional norms.

Conclusion

"Visual Pleasure and Narrative Cinema" remains a critical text in film theory and feminist
critique. Mulvey's analysis of the male gaze and the objectification of women in cinema has
provided a framework for understanding the intersection of gender and visual culture. Despite its
criticisms, the essay’s call for a feminist counter-cinema continues to inspire filmmakers and
theorists to explore new ways of representing women and dismantling patriarchal structures in
media.
 List of movies
1. Vertigo (1958)

Director: Alfred Hitchcock

Description: "Vertigo" is a quintessential example of Mulvey's arguments. The film centers on a

male protagonist, Scottie, who becomes obsessed with a woman, Madeleine, whom he is hired
to follow. The movie showcases voyeuristic pleasure as Scottie watches Madeleine and later
tries to transform another woman, Judy, into Madeleine’s image. The film exemplifies fetishistic
scopophilia, as Scottie's gaze controls and objectifies the female character, aligning perfectly
with Mulvey’s analysis of male gaze and female objectification.

2. Rear Window (1954)

Director: Alfred Hitchcock

Description: Another Hitchcock classic, "Rear Window" features a male protagonist, Jeff, who
is confined to his apartment and spends his time observing his neighbors through his window.
His gaze is both voyeuristic and controlling, particularly in how he watches and interprets the
actions of the women he spies on. The character of Lisa, played by Grace Kelly, is often
objectified and positioned to be looked at, rather than having her own narrative agency.

3. Gilda (1946)

Director: Charles Vidor

Description: "Gilda" stars Rita Hayworth in the titular role, with her character often reduced to a
visual spectacle for both the male protagonist and the audience. The famous scene where Gilda
performs a song while removing her glove is emblematic of fetishistic scopophilia, where her
sexuality is highlighted and controlled for male pleasure.

4. Psycho (1960)

Director: Alfred Hitchcock

Description: In "Psycho," the character of Marion Crane is initially the focus of the male gaze,
particularly in the scenes where she is undressing or in her underwear. The film shifts this gaze
to the character of Norman Bates, who embodies voyeuristic pleasure as he spies on Marion
through a peephole. The movie also explores sadistic voyeurism as Marion is punished,
reinforcing Mulvey's argument about the cinematic treatment of women.
5. Basic Instinct (1992)

Director: Paul Verhoeven

Description: "Basic Instinct" is a more modern example where the male gaze is evident. The
character of Catherine Tramell, played by Sharon Stone, is both sexualized and objectified
throughout the film. The infamous interrogation scene, where Tramell crosses and uncrosses
her legs, serves as a direct example of scopophilia and the fetishistic gaze, highlighting her
sexuality for the pleasure of the male characters and audience alike.

6. James Bond Franchise

Various Directors

Description: The James Bond series, spanning from "Dr. No" (1962) to recent films,
consistently exemplifies the male gaze. Female characters, often referred to as "Bond girls," are
typically depicted as objects of desire, with their primary function being to serve the male
protagonist’s narrative and pleasure. Their visual representation often emphasizes their physical
attractiveness and sexual availability.

7. The Seven Year Itch (1955)

Director: Billy Wilder

Description: This film is well-known for the iconic scene where Marilyn Monroe’s dress is blown
up by a subway grate. Monroe’s character is highly sexualized and exists mainly as an object of
desire for the male protagonist, as well as for the audience. The film's depiction of her aligns
with Mulvey's concept of women being positioned as spectacles for male pleasure.

8. Double Indemnity (1944)

Director: Billy Wilder

Description: "Double Indemnity" features Barbara Stanwyck as Phyllis Dietrichson, a classic

femme fatale whose role is to seduce and manipulate the male protagonist. Her character is
crafted to appeal to the male gaze, combining elements of danger and sexuality that align with
Mulvey's analysis of how women are fetishized and controlled in film narratives.

9. Cat on a Hot Tin Roof (1958)

Director: Richard Brooks

Description: Elizabeth Taylor's character, Maggie, is highly sexualized and presented as an

object of desire. The film frequently positions her in a way that highlights her physical
attractiveness, making her the focus of both the male characters' and the audience's gaze.
Maggie's portrayal exemplifies the scopophilic pleasure derived from watching women.

10. The Blue Angel (1930)

Director: Josef von Sternberg

Description: While not a Hollywood film, "The Blue Angel" is influential in its depiction of
Marlene Dietrich's character, Lola Lola, who is a classic example of the femme fatale. The film
showcases the male gaze through the obsessive and controlling looks directed at Lola by the
male protagonist, Professor Rath, and the audience, emphasizing her role as a spectacle and
object of desire.

These films serve as prime examples of how the male gaze operates in cinema, aligning with
Mulvey’s theories on visual pleasure and narrative structure. They highlight the various ways
women are objectified and controlled through cinematic techniques, reinforcing patriarchal
norms.