Abstract
The paper analyzes Brian De Palma's film "The Black Dahlia" (2006) - based upon crime novelist James Ellroy's book on a famous unsolved Hollywood murder - and how it represents a particularly interesting film text to be read in terms of Laura Mulvey's theory of the Gaze. The paper discusses Mulvey's application of her theory of fetishistic scopophilia and the determining power of the male gaze to classical Hollywood cinema. The apper argues that "The Black Dahlia" compels us to expand Mulvey's theory beyond the male/female binary to encompass lesbian and homoerotic re-visions of the gaze theory.

From the Paper
"Brian De Palma's film "The Black Dahlia" (2006) - based upon crime novelist James Ellroy's book on a famous unsolved Hollywood murder - represents a particularly interesting film text to be read in terms of Laura Mulvey's theory of the Gaze. While Mulvey's application of her theory of fetishistic scopophilia and the determining power of the male gaze to classical Hollywood cinema is illuminating, the application of the same theoretical apparatus to a contemporary Hollywood retro-noir - a contemporary film that references classical Hollywood film noir texts..."

Tags:film, feminism, gaze

Abstract
This paper analyzes the power of the gaze in film, using specific films as examples. The films that are used are"The Lord of the Rings Trilogy." The characters' gazes that were examined were the monstrous characters. It looks at the use of point of view shots to set intent. Other shots show the dominance of the gaze.

From the Paper
"The gaze is a very important part of film narrative. The gaze shapes perspective and often says a lot about the motivations of various characters. For this reason the gaze in film says a lot about power relations. This is particularly true when it comes to monstrous characters. The use of point of view shots and fixing gazes seem to be common aspects of monstrous characters. Their gaze is used to represent their power, predatory nature and inherent maliciousness. For this essay we will look at how the gaze is used by monstrous..."

Tags:gaze, film, monstrosity

Abstract
The paper discusses the term "gaze" and relates the many forms in which it can be interpreted and applied in movies, television and everyday life.

From the Paper
" "In her discussion of the way women "look" at war and interpret that act of looking through language and image, The World Wars through the Female Gaze, Jean Gallagher asserts that "Vision has ... played an important role in the development and gendering of cultural discourses about war" (Acton, 2004, p.53). Acton goes on to explain that the gaze is important if it can be interpreted through the eyes of the person who is beholding the event, whether that event is a movie or a war battle. Today's woman seem to know of what they gaze upon which they may not have known before, or at least they did not have the courage enough to say so. "

Tags:gaze, movie

Abstract
This paper critically analyzes "Eating a Banana," "The Human Toilet II," and "Pauline Bunny" by Sarah Lucas. The writer compares the beliefs contained in these writings to those of Laura Mulvey in her theory of the male gaze. The writer discusses that Mulvey posited that men perceive women as sexually objectified objects to be oppressed and controlled. In response to hegemonic discourse on the sexual objectification of women, the writer challenges gender stereotypes and sexism in the works.

From the Paper
"This paper analyzes the work of Sarah Lucas specifically "Eating a Banana", "The Human Toilet II" and "Pauline Bunny" and analyzes it in relation to Laura Mulvey's theory of the male gaze. Mulvey postulates that men objectify women by their gaze that render them to be mere objects affording men pleasure and control. Lucas subverts this sexist and oppressive paradigm by presenting images ... "

Tags:Sarah Lucas, photography, mixed media, feminism, sexism, female representations, male gaze, Laura Mulvey

Abstract
The paper reviews in detail the image of Medusa that pits femininity and masculinity against each other and allowing masculinity to triumph. The paper continues by stating that the gaze of the painted female subject often is depicted with her eyes either diverted from the viewer, or coyly regarding him. The author states that myths like the Medusa myth and the female gaze instruct women that their sexuality is something to be suppressed, that a powerful woman is a dangerous woman, and that the male will triumph in the end.

From the Paper
"Though the familiar image of Medusa as a serpent-haired monster is attributed to the Greeks, the myth of Medusa actually has its roots in pre-classical Mediterranean culture. In the matriarchal societies that existed before Greek civilization, Medusa was far from reviled as she was by the Greeks; instead, she was worshiped as a beautiful mother deity who symbolized wisdom, fertility, and female power. With the advent of Greek civilization, the existing gynocentric religion and mythology were compelled to adapt to the new patriarchal value system."

Tags:image, preclassical, mediterranean, culture, male, sexuality

Abstract
This paper examines various issues in anthropology, particularly the manner in which ethnographical accounts are written. This paper reviews and analyzes the chapter entitled "Confessional Tales" in John van Maanen's book "The Western Imperialist Gaze." According to the paper, in the post-colonial era, there has been a growing consciousness that the power relations within anthropological discourses are inherently skewed in favor of the anthropologist, and against the people whom the anthropologist studied. This has led to a much needed, self-conscious re-examination of the way in which anthropologists impose their own meaning and reality on the people whom they study.

From the Paper
"A key issue in anthropology is the manner in which ethnographical accounts are written. In the post-colonial era, there has been a growing consciousness that the power relations within anthropological discourses are inherently skewed in favour of the anthropologist, and against the people whom the anthropologist studied. This has led to a much needed, self-conscious re-examination of the way in which anthropologists impose their own meaning and reality on the people whom they study. It is within this context that John van Maanen's chapter entitled..."

Tags:anthropology, confessional, tale

Abstract
The gendered "eye" will be the subject of this essay. It will be argued that contemporary mass media, and in particular mass media advertising, privilege the male gaze, thereby defining "seeing" as a manifestation of contemporary gendered power structures.

Tags:gender, male, gaze

Abstract
This paper explains that the film "American Beauty" is an excellent example of how the male gaze not only configures looking at women as power but also how this gaze, through the film's use of multiple camera lenses, can shape the geography of space and gender relations. The author argues that the film represents women in visually constricted space in contrast with the representation of men in open space. The paper relates that this distinction mirrors the dominance of the male gaze as defining both geography and gender relations in the film.

From the Paper
"The film "American Beauty" is an excellent example of how the male gaze not only configures looking at women as power, but also how this gaze - through the film's use of multiple camera lenses - can shape the geography of space and gender relations. As this essay will argue, the film represents women in visually constricted space in contrast with the representation of men in open space. This distinction mirrors the dominance of the male gaze as defining both geography and gender relations in the film."

Tags:film, geography, culture

Abstract
This paper examines how the gaze and the fetishism are both strongly related to the viewer?s misrecognition of what he or she sees. It analyzes how fetishistic viewing gives a sexual value to a material object and makes the viewer experience sexual gratification through the gaze. It also evaluates howthe relation between sexuality and the object is arbitrary and how the viewer?s interpretation makes the object a stimulus for sexual arousal. It shows how all stereotypes are fetishes in the sense that they reveal a double play between the archaic affirmation of wholeness and similarity and how in racial terms stereotypes of the other, i.e. characteristics of the non-Western that are fabricated by the Western, are used to form a fetishized image of the other through the gaze.

From the Paper
"Erotic representations of the Other, the black or the bronze skinned people, are acceptable while it is interpreted as irritation to demonstrate White people's sexuality (Hyndman 2000, 9). Lutz and Collins show a remarkable example for this statement by saying that display of white breasts in National Geographic can become less irritating by darkening the skin tone (1993, 82). Despite its attractiveness, the sexuality of the Other is interpreted as a sign of immorality by the Western gaze (Mirzoeff 1999, 159). This lack of morality is understood as an opposition to Western domestic bourgeoisie values of nuclear family and justification and indication of their need to be "civilized" by the West (Hyndman 2000, 9)."

Tags:culture, exoticization, imperialism, naturalization, power, race, representation, self, sexuality, stereotyping

Abstract
This paper discusses Brian De Palma's 2006 film, "The Black Dahlia". The paper also discusses Laura Mulvey's theory of the gaze and the application of her theory to classical Hollywood cinema. The paper then discusses the application of the same theoretical apparatus to a contemporary Hollywood retro-noir (a contemporary film that references classical Hollywood film noir texts within a modern context), particularly "The Black Dahlia", and shows how it opens new avenues for understanding the operation of the gaze in film.

From the Paper
"In conclusion, our application of Laura Mulvey's theory of the gaze to De Palma's The Black Dahlia reveals not only gaps in the theoretical model - notably its insufficient exploration of the castrating feminine power of the film noir femme fatale - but also how a modern film can compel us to open the theory to encompass homoerotic and lesbian aspects. While De Palma's use of "screen tests" in the movie represents an almost perfect example of the male gaze in operation - it may be speculated whether De Palma has read Mulvey, and deliberately crafts the scene with this theoretical model in mind? - in its broader frame the film compels us to open the heterosexual male/female binary implied by the model to take into consideration differently gendered approaches to the representation of sexuality, power and domination in cinema."

Tags:noir, scopophilia, gender