Mary Ann Doane’s essay, “Film and the Masquerade: Theorizing the Female Spectator” attempts to answer some of the questions raised by. Type: Chapter; Author(s): Mary Ann Doane; Page start: ; Page end: Is part of Book. Title: The sexual subject: a Screen reader in sexuality; Author(s). Film and the Masquerade: Theorising the Female Spectator Title: Feminist film theory: a reader; Author(s): Sue Thornham; Date: ; Publisher: Edinburgh.

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Doane Study Guide

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Film and the Masquerade: Theorizing the Female Spectator

A man can partially examine himself and successfully define himself in the realm of his language. Leave a Reply Cancel reply Enter your comment here As Irigaray discusses, a problem is language.

Your reading intentions are also stored in your profile for future reference. Don’t already have an Oxford Academic account? Woman, on the other hand, are taught the same masculine form of language as man, and therefor cannot possibly identify femininity as a separate entity.


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Notes on Mary Ann Doane’s “Film and the Masquerade'”

Setting a reading intention helps you organise your reading. Theorizing the Female Spectator.

In a scene such as the one where Clarice is left alone in a room full of male officers, spectahor is clear that men cannot comfortably look at Clarice as a desirable object. In accordance with this masculization of woman, the female spectator is often one that assumes more traditional masculine spectatorship.

She does this in order to downplay her transgression and her castration threat. Can women be spectators? About Media and Commentary Reading Assignments!

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Film Culture, Theory, Entertainment Section: Here’s an example of what they look like: ScreenVolume 23, Issue1 SeptemberPages 74—88, https: How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: Without question, a protagonist like Clarice Sterling exists to always be desired, by the male and female spectator alike.


In this scenario, Clarice is powerless and cannot return the gaze, whether she knows she is being watched or not. An uncommon attribute of this film is that it allows the spectator, male or female, to occupy the feminine and masculine gaze in close proximity. Film and the Masquerade: To find out more, including how to control cookies, see here: It makes it easy to scan through your lists and keep track of progress. How can woman participate in the role of the spectator and find pleasure in cinema?

This item appears on List: Please log in to set a read status Setting a reading intention helps you organise your reading.