(pol de limbourg) |
The Male Gaze vs. The Oppositional Gaze
by: Jennifer Ezeuka
The oppositional gaze or the “Black
Female Spectators” was a very prevalent in history. “While slave owners punished enslaved black
people for looking” (Hooks). For a very long time slaves were denied the
right to gaze. The oppositional gaze was
a female thing overall. In earlier
films, black women were often depicted as slaves and maids. As a result they developed the “oppositional
gaze.’ By “looking past race and gender
for aspects of content, form and language”
(Hooks,115 ). Women didn’t identify
with these characters and therefore didn’t get hurt.
The oppositional gaze developed after
the many years of misrepresentation and absence of black women in the movie
industry. Characters such as ‘Saphire’
were characters that many black women did identify with. But on the other hand, black women resisted
identification with many films.
(actor for "black cinema) |
After reading and viewing videos on the
male and oppositional gaze, my understanding has become a lot clearer. For example, I never heard of the Bechdel
Test. The Bechdel Test is a test done to
show female bias in the film industry. I
never knew it was so difficult to have two women speak to each other for at
least 20 seconds, not talking about guys.
I can honestly say that from now on I’ll be on the look out for woman to
woman conversations and how long they actually last. In the art aspect, my eyes were also opened
to see how women are actually portrayed in the nude shots. There’s not much a woman can do that doesn’t
contribute to her presence and a woman must always watch herself.
In the picture below, a man is shown
holding a woman upside down in a very compromising position. The title is The Infidels. (Translated in
English) Is it a coincidence that the
lady just happens to be on the cover in this position? I think not, anyhow feel
free to leave comments on this movie cover…
http://omg.yahoo.com/news/racy-ads-french-movie-infidelity-pulled-140448121.html
(Movie cover for French film: Les Infideles) |
Work Cited
Hooks, Bell. Black Looks; Race and Representation. Boston Massachusetts:
South End Press, 1992. print
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