Analysis Of Cindy Sherman's # 10 Untitled Film Still

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You enter an art gallery and you come upon Cindy Sherman’s #10 untitled film still (fig. A.1.). In this photograph you see women squatting down on the floor; her skirt is pulled up. You are taken aback by the girl in this sexual position, and frankly, you are a bit uncomfortable. You then see the spilled groceries on the ground and place her in the place of a housewife, running around to cook dinner for her husband. The way that we view this photograph can be attributed back to the theory, of “male gaze.” Cindy Sherman was the first photographer to incorporate this strategy into photography which was, up to this point, only used in movies. Mary Devereaux defines the male gaze both literally and figuratively. Literally speaking, the male gaze …show more content…
Owens describes this as Sherman being the physical object is a signifier, and when it is combined with a sign it becomes a support of mythical content. Sherman is an artist, therefore she imitates reality. The fact that in the “untitled film stills” are inspired by films that are connected to types of femininity. And when she changes characters with these types of femininity she is drives the narratives towards the truth. The masquerade that comes to these characters raise the problems of sexual difference in a patriarchal culture. As Craig Owens discusses in his essay about the feminist and postmodern movements, women artists during this time were using a “dominant form both of representing difference and justifying its subordination in our culture.” Sherman contributed to this culture immensely in that fact that, compared to other artists of this time, she brought in both of these aspects and showed the root of these negative images of women that were created by society’s standards of women. Sherman saw this as a need for deconstruction from a constructionist feminist perspective and the need for parody and use of

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