Voyeurism And Narcissism In The New Version Of Ghostbusters

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In relation to feminist theory, the new version of ghostbusters had received an onslaught of aggression which is not a surprise to anyone who participates in the online culture nowadays. The rage was manifested in the hate-filled tweets that were directed to the film director and main casts especially Leslie Jones. This has seen the film earn one of the highest dislikes in Youtube’s movie trailer history mainly because of its franchise reimagined with a crew set consisting of just women. Recently, the online culture has experienced various attacks targeted on the women with the online misogyny being predictable to a point that the film had anticipations about the reactions. This saw some the critics decrying the very existence of the film for …show more content…
Classical narratives have been found to stimulate the desire of looking thorough integrating structures of narcissism and voyeurism into the image and story. Narcissist visual pleasure is achieved from the self-identification with the image while voyeuristic visual pleasure is achieved from looking at another as our object. The traditional cinema’s narrative structure has been said to portray men as powerful and active characters while the female character is perceived as powerless and passive. In a cinema, various techniques and narratives can be use to turn the voyeurism to extremely male prerogative. Within a film’s narrative, the male characters usually point heir gaze towards the female characters resulting in the spectators in the theaters to identify with the male’s look. This is because the filming of the cinema is from a libidinal and optical view point of the male character. Three cinematic gaze levels including, the spectator, character and camera are therefore the ones that objectify the female character making her into a particular spectacle. Voyeurism in cinematic narratives connotes the women as “to-be-looked-at-ness”. Narcissist visual pleasures are tacked with the mirror stage and ego formation concept. A child derives pleasure from identifying with the perfect image presented by the mirror and forms its ego based on the idealized image. In the same case, a film spectator also drives narcissism pleasure from an identification with human’s figure ideal image presented on the screen. However, in both cases the identification is not the lucid self-awareness or self-knowledge form. Since the structures of most cinemas has been analyzed as being fundamentally patriarchal, feminists have called for the shunning of traditional narratives and cinematic

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