Download Citation on ResearchGate | Afterthoughts on “Visual Pleasure and Narrative Cinema” inspired by “Duel in the Sun” | works primarily with Freud’s. Afterthoughts on ‘Visual Pleasure and Narrative Cinema – Free download as PDF File .pdf), Text File .txt) or view presentation slides online. “Afterthoughts on. Afterthoughts on “Visual Pleasure and Narrative Cinema” inspired by King Vidor’s Duel in the Sun () · Laura Mulvey. In Antony Easthope (ed.).
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Eleftheria Thanouli – – In Warren Narratige ed. In Duel in the Sun on the other hand, Pearl has become somewhat corrupt or wild herself, and thus is destined to be with the disorderly Lewt rather than Jesse who the film shows us will marry Helen, a model woman. Request removal from index. Zsuzsa Baross – – Angelaki 11 1: Is Pleasure an Unconditional Good?
She connects the films as concentrating on a female protagonist unable to achieve stable sexual identity torn between passive femininity and regressive masculinity. Is Pleasure an Unconditional Good?
While the essay shares quite a bit with the original, it also exercises some unique influence. Sign in to use this feature.
Laura Mulvey, “Afterthoughts on Visual Pleasure and Narrative Cinema” – ENGL
Anna Powell – – Film-Philosophy 7 3. The Pleasures of Documentary Tragedy. Request removal from index.
Sign in Create an account. Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. The Man Who Shot Liberty Valance has a more traditional plot, and focuses on the men; however, the way the film portrays the wild Doniphan stepping down so that Stoddard can have the girl, does play up the way that the ideal husband can receive the ideal girl. Science Logic and Mathematics.
Laura Mulvey – – In Marc Furstenau ed.
This article has no associated abstract. Femininity- attributes and stereotypes associated with women, including, passivity, gentleness, etc. Cristina Johnston French Minority Cinema.
To find out more, including how to control cookies, see here: Appears during phallic stage ane development. Philosophy of Film, Misc in Aesthetics. Stella ends up divorced and the last shot of the film is of her fleeing into the rain.
Laura Mulvey – – In Marc Furstenau ed. Sign in to use this feature. During this period, repression and identification with the same-sex parent are used to relieve anxiety. Stacie Friend – – British Journal of Aesthetics 47 2: Irwin Goldstein – – Pacific Philosophical Quarterly 84 1: Rodowick argued that her approach was too reductive and that her analysis of the female character on the screen and the female spectator in the auditorium did not allow for the pleasuge of female desire outside a phallocentric context.
This is when Freud claims that humans learn the physical and gendered differences between male and female. Implications and Afterlife Afterthoughts is less widely discussed afterrhoughts Visual Pleasure, ppeasure when it is discussed it is always coupled together with the original.
Afterthoughts on “visual pleasure and narrative cinema”
Moral Education at the Narraive O’Leary – forthcoming – Film and Philosophy. By continuing to use this website, you agree to their use. The Admissible Contents of Visual Experience.
Mulvey responds that she the female spectator should instead be seen as enjoying freedom of action and control over the diegetic world by identification with the hero. Complex Storytelling in Contemporary Cinema.
Michael Tye – – Philosophical Quarterly 59 David Carr – – Journal of Moral Education 35 3: