Cinema Journal (2007) - Visual "Drive" and Cinematic Narrative: Reading Gaze Theory in Lacan, Hitchcock, and Mulvey
Details
- article: Visual "Drive" and Cinematic Narrative: Reading Gaze Theory in Lacan, Hitchcock, and Mulvey
- author(s): Clifford T. Manlove
- journal: Cinema Journal (01/Apr/2007)
- issue: volume 46, issue 3, pages 83-108
- DOI: 10.1353/cj.2007.0025
- journal ISSN: 0009-7101
- publisher: Society for Cinema & Media Studies
- keywords: "A Hitchcock Reader" - edited by Marshall Deutelbaum and Leland A Poague, "Alfred Hitchcock's Rear Window" - edited by John Belton, "Hitch and His Public" - by Jean Douchet, "Hitchcock on Hitchcock" - edited by Sidney Gottlieb, "Hitchcock's Bi-Textuality: Lacan, Feminisms, and Queer Theory" - by Robert Samuels, "The Women Who Knew Too Much" - by Tania Modleski, Alfred Hitchcock, American Film Institute, American cinema, Cahiers du Cinéma, Clifford T. Manlove, David Bordwell, Essays, Feature films, Film & television studies, Film (Productions), Film (USA), Film criticism, Gaze theory, Gender, Golden Gate Bridge, San Francisco, California, Grace Kelly, Interpretations, Jacques Lacan, James Stewart, Jean Douchet, Joan Copjec, Kim Novak, Laura Mulvey, Leland Poague, Linda Williams, Marc Strauss, Marnie (1964), Marshall Deutelbaum, Mission San Juan Bautista, California, New York City, New York, Paramount Pictures, Patrice Petro, Patricia Hitchcock, Psychoanalytic criticism, Raymond Bellour, Raymond Burr, Rear Window (1954), San Francisco, California, Screen (1975) - Visual pleasure and narrative cinema, Sean Connery, Sigmund Freud, Slavoj Žižek, Susan Lurie, Tania Modleski, The Lady Vanishes (1938), Tippi Hedren, Todd McGowan, Universal Studios, Vertigo (1958)
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Abstract
Mulvey's thesis concerning the patriarchal structure of an active male gaze has spread its influence far beyond feminist film critiques of Alfred Hitchcock and Hollywood, to film and cultural theory, and to theories of perception generally.
