The work of Pierre Bourdieu is one such example, where in this procedure the images call upon the subjects that can be put in a frame work with exact principles and philosophy, it offers more profound introduction to the model of thoughts or principles, in the course of a short lived summary of the idea during the exertion of Marx, Althussor and Gramsci.
The chapter argues about the approach that should be in balance with the supposition of principles, only those who can believe the clout of governing principles or thoughts as well as the role played by the viewers in constructing the implifications.
The chapter 2 draws out quiet a few hypotheses that tackle the confrontations of texts and viewers, together with Stuart Hall's theory of encoding/decoding, the plans of fraud and contradictory reading (as Chicano Mural painting by an AIDS activist work, and the works of artists such as Barbara Kruger, and gender bending readings of Hollywood film).
The chapter shells out special attention to the plans made by some viewers who challenge on the basis of such strategy to modify the actual meaning of the images and texts, so that they would shape it according to their ideology.
The chapter converses the practical ideas of the gaze in Cinema and Art history, investigates and examines all possible ways in which such theories could be updated in compliance to the changing concepts of spectatorship, theories of identity of lesbian/gay and gender analysis, as well as to discover the novel ideas in making films, bringing out new styles in presenting images and the very need to marketing through advertisement that makes men to gaze while providing first of its kind like pieces of work to view for the spectators.
The chapter gives the relative aspects of gaze with queries of power; putting forward some of the central preassumptions of Michael Foucault on panoptician, power/knowledge, discourse.
The power of gaze is compared to the role of photography in working out the modern authorities through institutions to examine in hospitals and prisons, and in anthropology and advertising exotic new mages are discussed.
The chapter ends with a small chat of how the critique of Orientalism and postcolonial theory could assist us to recognize gazes upon and "other" images.