Ideas and research-

representation book:

Pleasure in Looking/Fascination with the Human Form
A
The cinema offers a number of possible pleasures. One is scopophilia. There are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at. Originally, in his “Three Essays on the Theory of Sexuality”, Freud isolated scopophilia as one of the component instincts of sexuality which exist as drives quite independently of the erotogenic zones. At this point he associated scopophilia with taking other people as objects, subjecting them to a controlling and curious gaze. His particular examples centre around the voyeuristic activities of children, their desire to see and make sure of the private and the forbidden (curiosity about other people’s genital and bodily func- tions, about the presence or absence of the penis and, retrospectively, about the primal scene). In this analysis scopophilia is essentially active. (Later, in “Instincts and their Vicissitudes”, Freud developed his theory of scopophilia further, attaching it initially to pre-genital auto-eroticism, after which the pleasure of the look is transferred to others by analogy. There is a close working here of the relationship between the active instinct and its further development in a narcissistic form.) Although the instinct is modified by other factors, in particular the constitution of the ego, it continues to exist as the erotic basis for pleasure in looking at another person as object. At the extreme, it can become fixated into a perversion, producing obsessive voyeurs and Peeping Toms, whose only sexual satisfaction can come from watching, in an active controlling sense, an objectified other.
At first glance, the cinema would seem to be remote from the undercover world of the surreptitious observation of an unknowing and unwilling victim. What is seen of the screen is so manifestly shown. But the mass of mainstream film, and the conventions within which it has consciously evolved, portray a hermetically sealed 



Archetype - Same, structured

Woman as Image, Man as Bearer of the Look
A
In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at- ness. Woman displayed as sexual object is the leitmotif of erotic spectacle: from pin- ups to striptease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire. Mainstream film neatly combined spectacle and narrative. (Note, however, how in the musical song-and-dance numbers break the flow of the diegesis.) The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. This alien presence then has to be integrated into cohesion with the narrative. As Budd Boetticher has put it:

What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.

An active/passive heterosexual division of labour has similarly controlled narrative structure. According to the principles of the ruling ideology and the psychical structures that back it up, the male figure cannot bear the burden of sexual objecti- fication. Man is reluctant to gaze at his exhibitionist like. Hence the split between spectacle and narrative supports the man’s role as the active one of forwarding the story, making things happen. The man controls the film phantasy and also emerges as the representative of power in a further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralize the extra-diegetic tenden- cies represented by woman as spectacle. This is made possible through the processes set in motion by structuring the film around a main controlling figure with whom the spectator can identify. As the spectator identifies with the main male1 protagonist, he projects his look on to that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence. A male movie star’s glamorous characteristics are thus not those of the erotic object of the gaze, but those of the more perfect, more complete, more powerful ideal ego conceived in the original moment of recognition in front of the mirror. The character in the story can make things happen and control events better than the subject/spectator, just as the image in the mirror was more in control of motor co-ordination. In contrast to

woman as icon, the active male figure (the ego ideal of the identification process) demands a three-dimensional space corresponding to that of the mirror-recognition in which the alienated subject internalized his own representation of this imaginary existence. He is a figure in a landscape. Here the function of film is to reproduce as accurately as possible the so-called natural conditions of human perception. Camera technology (as exemplified by deep focus in particular) and camera movements (determined by the action of the protagonist), combined with invisible editing (demanded by realism) all tend to blur the limits of screen space. The male protagonist is free to command the stage, a stage of spatial illusion in which he articulates the look and creates the action. 


'The patriarchal ideology is reinforced by the fact that the presidents wife is fatally injured through ignoring her husbands advice and not returning home from a business trip.'  Independence day article from  'Studying the media Tom O' Sullivan'