Ahnu G’s Reviews > Visual Pleasure and Narrative Cinema > Status Update
Ahnu G
is on page 7 of 15
Female definition via relative/relegated role (Budd Boetticher):
“What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.” (p. 7)
— May 01, 2025 05:24AM
“What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.” (p. 7)
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Ahnu’s Previous Updates
Ahnu G
is on page 14 of 15
Unique impact of film as the artistic medium:
"None of these interacting layers is intrinsic to film, but it is only in the film form that they can reach a perfect and beautiful contradiction, thanks to the possibility in the cinema of shifting the emphasis of the look. […] Going far beyond highlighting a woman's to-be-looked-at-ness, cinema builds the way she is to be looked at into the spectacle itself." (p. 14)
— May 02, 2025 12:40AM
"None of these interacting layers is intrinsic to film, but it is only in the film form that they can reach a perfect and beautiful contradiction, thanks to the possibility in the cinema of shifting the emphasis of the look. […] Going far beyond highlighting a woman's to-be-looked-at-ness, cinema builds the way she is to be looked at into the spectacle itself." (p. 14)
Ahnu G
is on page 7 of 15
The ‘double gaze’ enabled by cinema as a medium:
“Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (p. 7)
— May 01, 2025 05:26AM
“Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (p. 7)
Ahnu G
is on page 6 of 15
Origins of the ‘male gaze’ theory:
“In a world ordered by sexual imbalance, pleasure in
looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure… In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact…“ (pp. 6-7)
— May 01, 2025 05:20AM
“In a world ordered by sexual imbalance, pleasure in
looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure… In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact…“ (pp. 6-7)
