The crucial point of active "male gaze" in shaping the content and structure of representation also suggests her concern about the power of "gaze".
As Mulvey claims 'in a world ordered by sexual imbalances pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure, which is styled accordingly', she argues that visuality is structured in this gendered way, the castration complex has implication for images of women in this patriarchal visuality. She says that 'the representation of the female form...in the last resort...speaks castration and nothing else.' Thus Mulvey suggests that women cannot be represented in the movies on their own terms, but only in patriarchal terms.
Mulvey's essay also draws on two psychoanalytic concepts: Scopophilia and narcissistic to elucidate different pleasurable structures of looking within the cinematic situation. The "Scopophilic" attribute is defined as the pleasure arising from looking at an erotic object. The sexual satisfaction then comes from watching, in a controlling sense and an objectified other. ...Show more