Dinner was disappointing. After dinner I wrote about 2 pages of my paper, all while reading my sources (haha, because I only managed to take notes on 1 of the sources last night before I really needed to sleep even to get 5 hours of sleep...) Then I kept getting distracted by friend stuffs, which was necessary but definitely distractd me from getting anything done. And currently, while I am still writing my paper, people are also partying in my room. *sigh* Oh, college. Oh, dorms...
THIS is why I start papers that are due on a Thursday the Friday before they are due. That way I can allow for some distractions, even if I don't particularly like to. =) Ugh. But I have since written a total of 4 pages, a lot of which may eventually be revised out tomorrow night, but meh. At least I have some stuff written for now. And I think I'm pretty good as far as analyzing my artifact with the chosen criteria.
It is 1:40 am, but I am at least going to try to write my 2 pages of analysis before sleeping tonight.
Ack. I'm more stressed at this point about finding a place to live than by writing this paper. Although I am still awfully worried about getting a good grade on this paper. *sigh*
Anyway. I'm going to post a short excerpt from my paper to finish this post, and then continue working.
Women have been looked at and
made into fetishistic objects for centuries, in plays and speakeasies and other
spectacles. The creation and spreading of film media throughout the 20th
century created a whole new aspect of visual pleasure, fetishism, and a new
role for women as objects and spectacles. Laura Mulvey first published “Visual
Pleasure and the Narrative Cinema” in 1973, examining in psychoanalytic terms
how gaze functions in cinema, the role the audience plays, and the ultimate
fetishistic affect upon the women in the film. Film is unique in the way it
creates a separation between audience and characters, and thus women hold a
different function in film than in other spectacles (Mulvey 1973).
In Freudian
psychoanalysis, scopophilia is defined as taking pleasure from looking at an
object (Mulvey 1975). Often, scopophilia involves viewing other people as
objects or distant reflections rather than as a true person. Film allows for
scopophilia in several important ways. It allows for surreptitious observation,
with the audience “looking in on a private world,” remaining separate from and
unaffected by the world existing in the film. Cinema focuses on the image of
the human body, allowing for the audience to undertake a narcissistic scopophilia
as the audience develops curiosity as well as recognizes similarities and
differences between themselves and the image presented on the screen. The
audience identifies with the image on the screen as a representation of their
own body, and thus they derive pleasure from looking at a mirror image of
themselves and build up their own ego. The audience takes on a unique role as
viewers of a separate world, and thus each image in a film is manipulated in a
way to please the audience, and, according to Mulvey at least, the male viewer
of a female body in particular.
Cheers!
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