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Arguments, Objections, and Replies in “Visual Pleasure and Narrative Cinema”
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Arguments, Objections, and Replies in “Visual Pleasure and Narrative Cinema”
Laura Mulvey’s Main Arguments
Laura Mulvey's groundbreaking piece "Visual Pleasure and Narrative Cinema" recasts the
conversation about representation and gender in film for academics and audiences. The idea of the "male gaze" in Hollywood blockbusters is central to her case (Mulvey, 1999). Mulvey uses psychoanalytic theory to show how Hollywood movies uphold patriarchal values by serving as a medium for perpetuating stereotypical power dynamics and gender roles. Mulvey stresses the contrast between male protagonists, who drive the story and carry the gaze, and female characters, who are passive observers. According to her, "Women are displayed as sexual objects is the leitmotif of erotic spectacle: from pin-ups to strip-tease, from Ziegfeld to Busby Berkeley…" (Mulvey, 1999, p.837). In her analysis of the male gaze, Mulvey distinguishes between fetishistic scopophilia (in which the female form is fetishized and transformed into a spectacle) and voyeurism (in which women are viewed with a controlled and interested gaze). These techniques are used to further women's objectification and male superiority. The mechanics of power are at play here, not just erotic gratification. Mulvey explores the role of cinema as a representational medium in Section II. She contends that women in conventional narrative films are portrayed not as active participants in the narratives they are shown in but as passive subjects of male desire, viewed through the authoritative and voyeuristic lens of the male character and, consequently, the male audience. The author also states, "True perversion is barely concealed under a shallow mask of ideological correctness — the man is on the right side of the law, and the woman is on the wrong" (Mulvey, 1999, 841). The statement implies that female characters in media are there to serve as subjects of the male gaze instead of as active individuals with their agency and desires. Psychoanalytic
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principles, especially Freudian notions of scopophilia (the pleasure in gazing), lend credence to Mulvey's argument. To satisfy human curiosity, she believes, the cinema provides a safe space in which viewers can enjoy their voyeuristic impulses. Typically, men look, and women are just there to take it all in Hollywood films (Mulvey, 1999). Mulvey concludes that the dynamic has serious repercussions for the film industry since it normalizes and reinforces a patriarchal worldview in which women are permanently relegated to a subordinate role. Therefore, Mulvey's
argument is more than just an analysis of recent film trends; it is a critique of a pervasive system of portrayal that serves to sustain gender inequality and strengthen patriarchal power dynamics.
Film That Supports Mulvey’s Argument
Michael Bay's "Transformers" (2007) is one movie that can be analyzed in light of Laura Mulvey's theory on patriarchal cinema and the masculine gaze. Although it is largely a science fiction action picture about a conflict between two alien robot factions, the movie is an excellent illustration of the pervasiveness of the male gaze in modern Hollywood, particularly in genres that tend to be targeted toward men. The fictional character of Mikaela Banes, played by Megan Fox, is presented in an archetypal scene of Mulvey's "to-be-looked-at-ness." At first, the character is shown leaning over the bonnet of a car at a sluggish pace while the camera focuses on her figure, revealing her midriff (Purse, 2020). Mikaela is a talented technician, but her intelligence and competence are downplayed in favor of her attractive looks and her status as the love interest of the male main character, Sam Witwicky (Shia LaBeouf). The representation is consistent with Mulvey's argument that women are typically presented in media as sexual objects
for male viewers and characters. The camera repeatedly lingers on Mikaela throughout the Transformers film, establishing her as a target of masculine lust (Purse, 2020). Male characters, especially Sam, are shown to be voyeuristically fixated with her, a point emphasized by Mulvey.
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To add to the widespread objectification, even the Autobots scan her body suggestively at one point, which is utilized for a humorous purpose.
Film That Operates Differently than in Mulvey’s Argument
George Miller's "Mad Max: Fury Road" (2015) is an example of a film that deviates from
the norms of the masculine gaze and adds complexity to Mulvey's arguments. At first, the film appears to be a post-apocalyptic action thriller, a genre typically associated with a male viewpoint. However, it challenges Mulvey's canon by showing a different treatment of female characters, most notably Furiosa (Charlize Theron). Imperator Furiosa is not a supporting player or object of the male viewpoint. Bampatzimopoulos (2015) points out that she is a major force in
the film's plot. Furiosa is a superhero in her own right because of her agency, her motive, and her
abilities. Furiosa's objective is to liberate a group of enslaved women so she can return to her matriarchal kingdom, unlike most mainstream action movies where the female character's activities are generally motivated by her connections with men. Instead of doing what many action movies do and lingering voyeuristically on Furiosa and the other female actors, she does not. Female characters are frequently portrayed in the same rough, raw style as men, focusing on their roles in the story rather than their appearance (Bampatzimopoulos, 2015). Although the desert climate occasionally calls for more covering up than is ideal, the desert people wear functional clothing that is not meant for the "to-be-looked-at-ness" that Mulvey refers to. The protagonist and male lead, Max (Tom Hardy), differs from the story's focal point. He takes a back seat to Furiosa for most of the movie. There is no obvious romance plotline that relegates Furiosa to a secondary, objectified role during their collaboration.
My Overall Position
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Regarding how women are typically portrayed in film, Laura Mulvey's views in "Visual Pleasure and Narrative Cinema" are particularly critical. Her explanation of the male gaze in movies is invaluable for studying movies from different periods and genres, including recent films such as "Transformers." The movies prove Mulvey validations correct since they objectify women and repeat patriarchal standards in their plots and camerawork (Mulvey, 1999). The widespread nature of the issue she diagnoses is attested to by the fact that audiences can almost reflexively name many films that suit her model. Many contemporary stories, ads, and other forms of media continue to use the stereotype of women as passive subjects to appeal to a male audience.
While Mulvey's study is important and helpful for illuminating the patriarchal foundations of numerous film tales, it needs to be more comprehensive. Movies like Mad Max: Fury Road subvert the norm by showing viewers what the cinema may be like when it abandons the stereotypical roles assigned to men and women in the theater. These movies further muddy the waters by highlighting independent women who aren't objectified from a male perspective (Bampatzimopoulos, 2015). While Mulvey's criticism is fundamental and often valid, this divergence demonstrates that film is not monolithic and can change and subvert its standards. While I agree with Mulvey's points insofar as they pertain to a sizable percentage of films, I also believe cinema has the power to transcend and question its norms, as evidenced by the growing number of contemporary films that place a premium on multiple viewpoints and nuanced portrayals.
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References
Bampatzimopoulos, S. (2015). Female action hero vs male dominance: The female representation in Mad Max: Fury Road. Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi, 55(2), 205-218. https://dergipark.org.tr/en/pub/dtcfdergisi/issue/66790/1044443
Mulvey, L. (1999). Visual Pleasure and Narrative Cinema. In L. Braudy & M. Cohen (Eds.), Film Theory and Criticism: Introductory Readings
(pp. 833-844). Oxford University Press.
Purse, L. (2020). Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement. Book Reviews. http://www.sensesofcinema.com/2015/michael-bay-
dossier/michael-bay-machine-movement/
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