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Book ChapterDOI

The New/Old Patriarchal Auteurism: Manoel de Oliveira, the Male Gaze and Women’s Representation

TL;DR: In this paper, the authors discuss the figure of Manoel de Oliveira, the renowned Portuguese auteur whose filmmaking career spanned from 1931 to 2015, focusing on Belle Toujours (2006), Eccentricities of a Blonde-Haired Girl (2009), and The Strange Case of Angelica (2010).
Abstract: This chapter discusses the figure of Manoel de Oliveira, the renowned Portuguese auteur whose filmmaking career spanned from 1931 to 2015. Lewis and Sever Globan argue that Oliveira’s longevity and prolific career allowed him to carry into the twenty-first century a set of female representations which can be considered highly problematic in the context of contemporary society. By focusing on Belle Toujours (2006), Eccentricities of a Blonde-Haired Girl (2009) and The Strange Case of Angelica (2010), the chapter explains how Oliveira’s recent films set in place an intricate process of reviving a regressive patriarchal auteurism which is performed through mechanisms of male identification, male gaze and a strong voyeuristic element.
Citations
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Journal ArticleDOI
TL;DR: In this article, an attempt to study Henrik Ibsen's drama "When We Dead Awaken" from the point of view of male gaze theory is made. But, it is not clear how a woman loses her identity and individuality in a male dominated society that evaluates and defines woman as a sexual object.
Abstract: This article is an attempt to study Henrik Ibsen’s drama ‘When We Dead Awaken’ from the point of view of male gaze theory. It reveals that exposition of women’s body in nudity as an art is another form of male exploitation of female. In this environment, a woman becomes source of pleasure for males who gaze women to fulfill their erotic desires. In doing so, this article explores how a woman loses her identity and individuality in male dominated society that evaluates and defines woman as a sexual object. Keywords— Male gaze, voyeurism, nudity, exploitation, objectification, visual pleasure, resurrection.

3 citations

References
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Journal ArticleDOI
01 Oct 1975-Screen
TL;DR: This paper used psychoanalysis to discover where and how the fascination of film is reinforced by pre-existing patterns of fascination already at work within the individual subject and the social formations that have moulded him.
Abstract: This paper intends to use psychoanalysis to discover where and how the fascination of film is reinforced by pre-existing patterns of fascination already at work within the individual subject and the social formations that have moulded him. It takes as its starting-point the way film reflects, reveals and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking and spectacle. It is helpful to understand what the cinema has been, how its magic has worked in the past, while attempting a theory and a practice which will challenge this cinema of the past. Psychoanalytic theory is thus appropriated here as a political weapon, demonstrating the way the unconscious of patriarchal society has structured film form.

5,533 citations

Book
01 Jan 1988
TL;DR: In this article, the female authorial voice is disembodied by Irigaray, Experimental Feminist Cinema, and Femininity, and the female subjectivity and the negative Oedipus complex.
Abstract: Acknowledgements Preface [1] Lost Objects and Mistaken Subjects: A Prologue [2] Body Talk [3] The Fantasy of the Maternal Voice: Paranoia and Compensation [4] The Fantasy of the Maternal Voice: Female Subjectivity and the Negative Oedipus Complex [5] Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity [6] The Female Authorial Voice Notes Index

438 citations

Book
01 Jan 1987

96 citations

Book
01 Jan 1985
TL;DR: The history of the American film industry can be traced back to the early 1900s with the birth of the United States and the emergence of the modern movie industry as discussed by the authors, which is the subject of this paper.
Abstract: Listed after each chapter title are just some of the films/film makers /studios/actors featured in the sidebars for each section. PART 1: CLASSIC HOLLYWOOD CINEMA Introduction The Rise of the American Film Industry - The Birth of a Nation, Intolerance, Sunrise, King Kong The Studios - Paramount, MGM, Warner Bros, Columbia, 20th Century Fox, RKO, Universal Stars - Humphrey Bogart, Jane Fonda, Marlene Dietrich, Marlon Brando Classical Hollywood Narrative - Stagecoach, Marnie, His Girl Friday, Klute, Mildred Pierce PART 2: TECHNOLOGY Introduction Sound - The Jazz Singer, Apocalypse Now, Jurassic Park Colour - She Wore a Yellow Ribbon Deep Focus - The Best Years of Our Lives, La Regle du jeu Lighting -Widescreen Rebel Without a Cause Cameras Alternative Production Formats Editing The 'New' Technologies - Titanic, The Mask, Terminator 2: Judgement Day Interactive Entertainments Virtual Reality PART 3: NATIONAL CINEMA AND FILM MOVEMENTS German Expressionism and New German Cinema - Das Cabinet des Dr Caligari, Nosferatu Soviet Cinema - The Battleship Potemkin, Ivan the Terrible Part 1 Italian Neo-Realism - La Strada, Paisa The French Nouvelle Vague - A bout de souffle, Les Quatre cents coups The British Film Industry - The Lavender Hill Mob, The Quatermass Experiment, Room at the Top PART 4: ALTERNATIVES TO CLASSIC HOLLYWOOD Early Cinema - After Brighton, The Great Train Robbery, The Lonedale Operator New Hollywood - Five Easy Pieces, Chinatown, Pulp Fiction Art Cinema - Alice in den Stadten, L'Annee derniere a Marienbad, L'avventura, East Asian Cinema, Late Spring, Yellow Earth, Sisters of the Gion Avant-Garde and Counter-Cinema - Un Chien Andalou, Vent d'est, Privilege Third World and Postcolonial Cinema - Xala, Sankofa, Vidas Secas, La Hora de los Hornos Hindi Cinema - Pather Panchali, Sholay, Kaliya, Pyaasa PART 5: GENRE History Of Genre Criticism The Western - My Darling Clementine, Unforgiven Melodrama - Gaslight, Written on the Wind, Stella Dallas, All That Heaven Allows Crime - Gangsters, Detectives and Suspense Film Film Noir - Double Indemnity, Homicide, Secret Beyond the Door Science Fiction and Horror - Psycho, Alien, Dead Ringers, Star Wars The Musical - Meet Me in St Louis, Sweet Charity, Top Hat, Singin' in the Rain The Teenpic - Grease, Gummo, Rebel Without a Cause Comedy - Lover Come Back, Annie Hall, The Patsy Action-Adventure PART 6: AUTHORSHIP AND CINEMA Authorship and Art Cinema - Ingmar Bergman, Federico Fellini, The 'politique des auteurs' Jean Renoir, Fritz Lang, Alfred Hitchcock, Orson Welles, Jean-Luc Godard The Auteur Theory - D.W. Griffith, Don Siegel, Nicholas Ray, Roger Corman Auteurism in Britain - Carol Reed, Lindsay Anderson, Karel Reisz, Terence Fisher Structuralism and Auteur Study - Samuel Fuller, Howard Hawks, Douglas Sirk, Raoul Walsh Auteurism After Structuralism - John Ford, Jean-Luc Godard Auteurism in the 1990s - Jane Campion, Peter Wier PART 7: THEORETICAL FRAMEWORKS Looking at Film - Three Colours: White, The Graduate Structuralism and its Aftermaths - Citizen Kane, Tout va bien, Kiss me Deadly, Rio Bravo, Psychoanalysis and Cinema, Manhunter, Blue Velvet, Blade Runner, Total Recall Feminist Film Theory - Morocco, Antonia's Line Film Theory and Spectatorship - Gone With the Wind, Queen Christina Contributors: Richard Abel, Guy Barefoot, Alison Butler, Pam Cook, Michael Allen, Elizabeth Cowie, James Donald, Leslie Felperin, Kathe Geist, Christine Gledhill, Michael Grant, Leighton Grist, Sheila Johnston, Noel King, Frank Krutnik, Annette Kuhn, Julia Knight, Andy Medhurst, Toby Miller, Steve Neale, Richard Neupert, Geoffrey Nowell-Smith, Julian Petley, Ashish Rajadhyaksha, Jane Root, Thomas Shatz, Anneke Smelik, Murray Smith, Robert Stam, John Thompson, Rob White, Pamela Robertson Wojick

92 citations

Book
01 Jan 2008
TL;DR: The Aesthetic Doxa on the New Wave as mentioned in this paper is a seminal work in the history of women in the French New Wave, and it has been used extensively in the analysis of women's roles in the film industry.
Abstract: Acknowledgments vii Introduction: The Aesthetic Doxa on the New Wave 1 1. A New Generation Marked by the Emergence of Women 11 2. Cinephilia in the 1950s 22 3. Auteur Cinema: An Affair of State 34 4. Contrasting Receptions 41 5. The Precursors 70 6. Between Romanticism and Modernism 95 7. Nostalgia for a Heroic Masculinity 128 8. The Women of the New Wave: Between Modern and Archaic 145 9. Jeanne Moreau: Star of the New Wave and Icon of Modernity 184 10. Brigitte Bardot and the New Wave: An Ambivalent Relationship 199 11. The Independent Filmmakers of the Left Bank: A "Feminist" Alternative 210 Conclusion: The New Wave's Legacy: "Auteur Cinema" 221 Appendix One: Box Office Results 225 Appendix Two: The Press 227 Notes 231 Bibliography 245 Index 253

40 citations