Gaze
In the early 1970s, Christian Metz and Laura Mulvey separately explored aspects of the "gaze" in the cinema, Metz stressing the viewer's identification with the camera's vision, - an identification largely "constructed" by the film itself - and Mulvey the fetishistic aspects of (especially) the male viewer's regard for the onscreen female body.
The viewing subject may be offered particular identifications (usually with a leading male character) from which to watch. The theory stresses the subject's longing for a completeness which the film may appear to offer through identification with an image, although Lacanian theory also indicates that identification with the image is never anything but an illusion and the subject is always split simply by virtue of coming into existence (Aphanisis).
Read more about this topic: Psychoanalytical Film Theory
Famous quotes containing the word gaze:
“Chaucer is fresh and modern still, and no dust settles on his true passages. It lightens along the line, and we are reminded that flowers have bloomed, and birds sung, and hearts beaten in England. Before the earnest gaze of the reader, the rust and moss of time gradually drop off, and the original green life is revealed. He was a homely and domestic man, and did breathe quite as modern men do.”
—Henry David Thoreau (1817–1862)
“Let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God.”
—Herman Melville (1819–1891)
“The masses always end up wholeheartedly believing and following those individuals whom they themselves mock, individuals whom they curse and persecute, but individuals who, not fearing their curses or their persecution, continue steadily forward, having fastened a spiritual gaze on the only goal such individuals can see.”
—Ivan Sergeevich Turgenev (1818–1883)