The concept of the “male gaze”, introduced by feminist film theorist Laura Mulvey in her 1975 essay “Visual and Other Pleasures“, has become a critical framework for understanding the objectification of women in visual media. The “male gaze” refers to the way visual arts, especially the cinema, often portrays women from a male, heterosexual perspective, positioning them as objects of desire and passive subjects for the male viewer. This not only influences how women are portrayed in film, but also in other forms of media, including music videos, advertisements, and magazines. By analysing the “male gaze” in these contexts, we can understand how it shapes the publics’ views on gender and power.
“Visual and Other Pleasures“
In Visual and Other Pleasures, Mulvey argues that mainstream cinema often centres the male perspective, positioning women as passive objects to be looked at, while men remain the active agents in the narrative. She uses the concept of “scopophilia” (meaning: pleasure in looking) to describe how audiences derive pleasure from the act of looking at women, whose bodies are often objectified and framed for male consumption. This theory applies to a wide range of media, where women are often depicted as visually appealing objects rather than fully realised subjects.
Pretty Woman (1990)
One clear example of the male gaze can be seen in Pretty Woman (1990) movie, a romantic comedy where the female protagonist, Vivian, is introduced as a prostitute whose transformation into a “respectable” woman is defined through her romantic relationship with a rich man. As Mulvey suggests, the camera lingers on Vivian’s body throughout the film, emphasising her attractiveness rather than her individuality or agency. In this narrative, Vivian’s worth is validated by her relationship with the male protagonist, Edward, reflecting the patriarchal notion that a woman’s value is dependent on male approval. The way she is seen through Edward’s eyes mirrors how the audience is encouraged to view her, focusing on her beauty and sexual appeal. This framing of women as objects to be desired and “possessed” by men reinforces traditional gender dynamics.
Mulvey’s analysis has sparked a significant body of feminist scholarship that critiques the representation of women in media. Many contemporary works seek to challenge the male gaze by subverting traditional gender roles and presenting more nuanced and empowered portrayals of women. For instance, movies such as Mad Max: Fury Road (2015) and Wonder Woman (2017) offer female protagonists who are not only central to the narrative but are depicted as strong, complex, and active agents in their own stories, challenging the passive, objectified roles typically assigned to women.
To Conclude,
the “male gaze” still has a strong influence in shaping the way women are represented in media. In many different forms of media, women are often framed as objects to be gazed upon and desired. By applying Laura Mulvey’s theory of the male gaze, we gain insight into how these portrayals reinforce gender inequalities and limit the agency of women in visual culture. However, ongoing efforts to challenge and subvert the male gaze in contemporary media offer hope for a more equitable and inclusive representation of women.
Reference
- Mulvey, L. (1975). Visual and Other Pleasures. Screen, 16(3), 6-18.
