Laura

Many feminists have pointed that classical Hollywood film has been associated with the “male gaze” in most case. British feminist film theorist, Laura Mulvey (1975) expands on this conception to argue that in cinema women are typically depicted in a passive role that provides visual pleasure for male viewing that male audience tend to take the female character in film as his own personal sex object because, he can relate himself, through ‘looking’, to the male character in the film. Not only in…

This can be seen in the scene where the viewers learn of an instance in which Sergio records his wife Laura, talking without her knowledge or consent to do so. The viewer sees Sergio press play on a recording device and what is played back are a series of questions that he asks her, to her increasing irritation. As the recording plays the viewers watch Sergio…

To say that Dr. Laura Schlessinger has been a controversial character over the past few decades is quite a significant understatement. Those who love to hate the talk show host use words like “rude,” and “dictatorial,” and reference a rise in blood pressure when forced to even hear her voice, while her staunch supporters readily rally behind her self-proclaimed “preaching, teaching, and nagging.” Regardless of where a person falls on that spectrum, she definitely gives the world something to…

how men look at women; coined by the feminist film critic Laura Mulvey, introduced in her essay Visual Pleasure and Narrative Cinema which was published in 1975. The male gaze enforces the sexual politics of the gaze and states that in film, women are typically the objects of heterosexual male desire. It is a sexualised way of looking that objectifies women and empowers men, which is deeply rooted in patriarchal ideologies and discourse. Laura states that “the determining male gaze projects its…

According to Merriam-Webster, Magical Realism is a literary genre that incorporates fantastic or mythical elements into otherwise realistic fiction. In the novel Like Water for Chocolate by Laura Esquivel, uses different forms of magical realism to catch the reader’s interest in the novel. Esquivel also uses hyperbole to exaggerate until it becomes magical. Three of the most significant magical realism parts in the novel are the rose petal dinner, the chicken fight, and Tita and Pedro’s last…

Laura Wingfield in Tennessee William’s The Glass Menagerie is an interesting and complex character. She lives during the industrialized era of American history. During this time, business became cold and impersonal, and the living environments were often harsh, overcrowded, and dirty. This severe environment is difficult for Laura to deal with. She is delicate and fragile, both emotionally and physically. She does not know how to connect with people, and her incredible shyness isolates her from…

they made throughout their journey were not wise. Laura and Howie are two kids that got stripped and marooned on an island by their “friends” at camp. They decided to run away from camp and avoid being ridiculed and humiliated. They had to get back to Laura’s mother from another camp that they snuck into. Laura and Howie’s excursion was an immature and foolish series of actions, for which they should be punished. One important reason that Laura and Howie’s excursion was an immature and foolish…

is a portrayal of “The Nuclear Family”, DiCaprio clearly being the “Breadwinner” in this whole situation by being the sole provider in the home and Robbie being portrayed as the “Homemaker” or a housewife that has to stay home and be domestic. In Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) states that “Women Stands in patriarchal as signifier of male others, being bound by a symbolic order in which man can live out his fantasies”. The movie relates with this point because in one…

Hitchcock's Vertigo (1958) portrays a man's (John’s) passion for control and the dangers of idealisation and desire. Vertigo; "a sensation of whirling and loss of balance, associated particularly with looking down from a great height”1 is a metaphor of protagonist John “Scotty” Ferguson relationship with Judy Barton/Madeleine Elster. The narrative structure of Vertigo is fundamentally driven by the encounters between John and Madeleine/Judy. The relationship between the two progresses on the…

Cindy Sherman’s Untitled Film Stills have been at the centre of Post Modernist and Post-Structuralist discourse since the 1980s. This paper will address the arguments made by Rosalind Krauss, Judith Williamson, Laura Mulvey and Jui-Ch’i Liu surrounding these film stills. The work at hand consists of a series of black and white photographs where Sherman plays the role of the director and the agent to construct an image and mise en scène that has an uncanny resemblance to 1950s snapshots of…