![]() ![]() Mulvey later said that this article was meant to be a provocation or a manifesto, rather than a coldly reasoned academic article that took all objections into account. Critics of the article objected to the fact that her argument implied the impossibility of genuine 'feminine' enjoyment of the classical Hollywood cinema, and to the fact that her argument did not seem to take into account spectatorships that were not organised along the normative lines of gender (for example, a metaphoric 'transvestism' might be possible when viewing a film-a male viewer might enjoy a 'feminine' point-of-view provided by a film, or vice versa gay and lesbian spectatorships might also be different). "Visual Pleasure and Narrative Cinema" was the subject of much interdisciplinary discussion that continued into the 1980s. ![]() “It is said that analysing pleasure or beauty annihilates it. ![]() She calls for a new feminist avant-garde filmmaking that will rupture the magic and pleasure of classical Hollywood filmmaking. Meanwhile, female characters are, according to Mulvey, coded with "to-be-looked-at-ness." Mulvey argues that the only way to annihilate this "patriarchal" system is to radically deconstruct the filmic strategies of classical Hollywood with alternative methods. In classical Hollywood cinema, viewers are encouraged to identify with the protagonist of the film, who tends to be a man. ![]() Mulvey’s article argues mainly that the cinematic apparatus (specifically of classical Hollywood cinema) inevitably puts the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire. Much of her early critical work investigated questions of spectatorial identification and its relationship to the male gaze, and her writings, particularly the 1975 essay " Visual Pleasure and Narrative Cinema," helped establish feminist film theory as a legitimate field of study. Hilda's, Oxford University, she came to prominence in the early 1970s as a film theorist, writing for periodicals such as Spare Rib and Seven Days. ![]()
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