Link: http://artsite.arts.ucsb.edu/~arts1a/outlines/Visual_Pleasure_Mulvey.pdf
These quotes below are useful as they are from a reliable source, and give detailed context on what conventions are involved when exploring gender in film. Detail is also given towards how the audience see how gender is presented on screen also.
Quote: "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 neutralise the extra- diegetic tendencies 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." (Page 12)
Quote: "It takes as starting point the way film reflects, reveals and even plays on the straight, socially
established interpretation of sexual difference which controls
images, erotic ways of looking and spectacle." (Page 6)
Quote: "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 world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic phantasy." (Page 9)
Quote: "Important for this article is the fact that it is an image that constitutes the matrix of the imaginary, of recognition/mis- recognition and identification, and hence of the first articulation of the 'I', of subjectivity." (Page 10)
Quote: "During its history, the cinema seems to have evolved a particular illusion of reality in which this contradiction between libido and ego has found a beautifully complementary phantasy world." (Page 11)
Quote: "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 world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic phantasy." (Page 9)
Quote: "Important for this article is the fact that it is an image that constitutes the matrix of the imaginary, of recognition/mis- recognition and identification, and hence of the first articulation of the 'I', of subjectivity." (Page 10)
Quote: "During its history, the cinema seems to have evolved a particular illusion of reality in which this contradiction between libido and ego has found a beautifully complementary phantasy world." (Page 11)
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