Complete The Journal Assignment: Read Sturken And Cartwright ✓ Solved

Complete The Journal Assignmenta Read Sturken And Cartwright Chapt

Complete the Journal Assignment. a. Read Sturken and Cartwright (Chapter 3 pp. 93, 94, and 123–129). b. Think: Once the concept of the gaze is understood, it is easy to notice the intents of artists, advertisers, and filmmakers. c. Art works which depict the gaze include Sandro Botticelli (1445–1510), Birth of Venus and Frida Kahlo (1907–1954), Self-Portrait with Cropped Hair.

Consider how these images of women are depicted. After reading and comprehending the gaze as discussed in your texts, view one of the following films and take note of the use of the gaze to write a discussion of the film’s use of the gaze either stereotypically or subversively: a. Rear Window (1954) b. Gentlemen Prefer Blondes (1953) c. Thelma and Louise (1991) Or you may also opt to research and discuss Manet’s famous painting Dejeuner Sur L’herbe (Luncheon on the Grass) from 1863. Discuss how Manet used the historic notion of the gaze in a revolutionary manner. Be sure to cite any sources in APA, including websites that you have consulted.

Paper For Above Instructions

The concept of the gaze plays a crucial role in understanding visual culture, particularly in the examination of how women are represented in the arts, cinema, and advertising. The feminist theory of the gaze, as discussed by Sturken and Cartwright, reveals the power dynamics between those who gaze and those who are gazed upon. In this paper, I will explore how the film "Thelma and Louise" (1991) utilizes the gaze in a subversive manner, challenging traditional representations of women in cinema. Additionally, I will discuss Edouard Manet's painting "Dejeuner Sur L’herbe," analyzing how it revolutionized the historic notion of the gaze in art.

The Gaze in Cinema: "Thelma and Louise"

"Thelma and Louise," directed by Ridley Scott, presents a powerful narrative that confronts the traditional portrayal of women in film. The film follows two women, Thelma and Louise, who embark on a journey of self-discovery and liberation while facing the repercussions of their choices. Central to its narrative is the concept of the gaze, represented both through the characters’ perspectives and the audiences’ engagement with them.

At the beginning of the film, both characters are depicted through a stereotypical gaze, reflecting their roles as secondary to the male characters. The initial scenes portray them as submissive to their respective societal roles; Thelma is portrayed as the classic housewife, and Louise is the working woman confined by her partner's control. However, as their journey progresses, they subvert these stereotypes and reclaim their autonomy. This shift in the gaze marks a critical turn in the film, as the women begin to defy the expectations laid upon them.

The film employs cinematography that emphasizes the women's agency. For instance, in crucial moments, the camera lingers on their expressions, allowing the audience to engage with their inner lives. This technique contrasts with traditional film narratives, where male viewpoints typically dominate, objectifying female characters. Thelma and Louise's journey culminates in a refusal to be subjected to the male gaze when they decide to confront their pursuers, opting for agency over victimhood.

Thelma and Louise become the subjects of their own narrative, challenging not only the gaze of the male characters but also the audience's gaze. As the film progresses, the audience is compelled to empathize with their plight, effectively turning them into relatable characters rather than mere objects of desire. By the film's conclusion, Thelma and Louise’s choice to drive off the cliff symbolizes freedom from societal constraints, epitomizing the full transformation of their characters and the subversion of the traditional gaze.

Manet's "Dejeuner Sur L’herbe"

Edouard Manet’s painting "Dejeuner Sur L’herbe" (1863) presents a critical re-evaluation of the gaze within the context of 19th-century art. At first glance, the painting is controversial for its stark representation of a nude woman picnicking with fully clothed men. It defies the conventions of traditional representations of women, contrasting the idealized subjects often seen in academic painting. Instead of being portrayed as passive objects of desire, the woman in "Dejeuner Sur L’herbe," who is confidently gazing at the viewer, demands attention and respect.

Manet’s work confronts the viewer's expectations and societal norms, thereby challenging the historic notion of the gaze. The depicted woman’s direct gaze creates a tension that forces viewers to acknowledge her presence and subjectivity. This bold defiance of the passive female archetype not only highlights the complexity of her character but also invites interpretations that transcend the male gaze prevalent in art history.

By placing a naked woman in the midst of clothed men, Manet subverts traditional gender roles associated with the voyeuristic gaze, making the viewer reconsider their position and the inherent power dynamics. The contrast between the nude figure and the dressed men heightens the sense of agency, as the woman occupies a space that typically relegates her to a lesser status. Manet’s radical approach thus revolutionized the representation of women in art, setting the stage for subsequent feminist critiques and interpretations of visual culture.

Conclusion

Both "Thelma and Louise" and Manet's "Dejeuner Sur L’herbe" serve as poignant embodiments of the transformative power of the gaze. Through the subversion of traditional representations, they illustrate the complexities of female subjectivity and agency. By understanding the dynamics of the gaze as discussed by Sturken and Cartwright, one can appreciate how these works confront and challenge societal norms concerning women's representations in both cinema and art. The exploration of the gaze remains crucial for contemporary discussions on gender, power, and representation across visual culture.

References

• Sturken, M., & Cartwright, L. (2018). Practices of Looking: An Introduction to Visual Culture. Oxford University Press.
• Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18.
• Barker, M. (1989). The Politics of Aesthetics: The Role of Art in the Modern World. International Journal of Art and Design Education, 8(2), 109-126.
• Mitchell, W. J. T. (1994). Picture Theory: Essays on Verbal and Visual Representation. University of Chicago Press.
• Berger, J. (1972). Ways of Seeing. Penguin Books.
• De Lauretis, T. (1987). Technologies of Gender: Essays on Theory, Film, and Fiction. Indiana University Press.
• Katz, S. (1999). Film, Feminism, and the Gaze: The Works of Mulvey, Doane, and others. The Journal of Film and Video, 51(4), 5-17.
• Showalter, E. (1991). The Female Malady: Women, Madness, and English Culture, 1830-1980. Virago Press.
• Fried, M. (1998). Why Photography Matters as Art as Never Before. Yale University Press.
• Mirza, H. S. (2010). The Visual Culture Reader. Routledge.