 | Phillip Brian Harper - 1994 - 244 pagini
...given film, as he "identifies with the main male protagonist, . . . projects his look on to that of his ... screen surrogate, so that the power of the male protagonist as he controls events [in the film] coincides with the active power of the erotic look," which takes as its object the female... | |
 | Robyn R. Warhol, Diane Price Herndl - 1997 - 1238 pagini
...motion by structuring the film around a main controlling figure with whom the spectator can identify. As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Debra N. Mancoff - 1998 - 266 pagini
...famous essay on the male gaze, the paramount result of the gaze is a narcissistic ego reinforcement: As the spectator identifies with the main male protagonist, he projects his look on to that of his like, ... so that the power of the male protagonist as he controls events coincides with the active power... | |
 | Laura Hinton - 1999 - 304 pagini
...The epistolary spectator identifies with the "main controlling figure" through the Lovelacean look: "As the spectator identifies with the main male protagonist,...look on to that of his like, his screen surrogate" (Mulvey 12). In this way, the power of the male spectator inside the diegesis "coincides with the active... | |
 | Patricia Juliana Smith - 1999 - 302 pagini
...Laura Mulvey makes the identification between protagonist. spectator (reader), and vision explicit: "As the spectator identifies with the main male protagonist. he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Thomas L. Burkdall - 2001 - 134 pagini
...spectacle that is Gerty, being watched by Bloom, the narrator and, by proxy, the male readers.2 For, "as the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Patricia Mohammed - 2002 - 566 pagini
...with their male stars via a process which Mulvey interprets in terms of the Lacanian mirror stage: As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Mike Edwards - 2003 - 194 pagini
...tradition not only typically focus on a male protagonist in the narrative but also assume a male spectator. 'As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Isabel Balseiro, Ntongela Masilela - 2003 - 292 pagini
...behind the screen to neutralise the extra-diegetic tendencies represented by woman as spectacle. ... As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
 | Joshua David Bellin - 2005 - 260 pagini
...breathes — and his perspective. This pivotal scene thus functions in the manner Mulvey suggests: "As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls... | |
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As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving... 
