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• W2602162153 abstract "The camera focuses on a red, unopened door at end of a long, black and red hallway. The opening notes of AC/DC's Back in Black begin to play as camera creeps closer to door. After a moment, door opens, framing a beautiful woman decked out in black lingerie, a riding crop in her hand. The camera slowly pans up her body, and she begins to walk, slowly, like a runway model making her way down a catwalk. The camera moves once to catch her from behind before she reaches her destination: an overweight man with a pockmarked face who sits eating shrimp drenched in cocktail sauce. As she stands before him, he orders her to try red one, and though a brief look of what looks like challenge or annoyance flashes in her eyes, she obeys, leaving him briefly to change into red lingerie and begin catwalk again.A television viewer flipping through channels during first minute and a half of Alias Episode 2-13, entitled Phase One, would see same thing they have seen on many other television shows in past: a highly sexualized female performing for a fully clothed male. Watch for even a minute more, however, and viewer will see something different: sexualized female taking control, pinning to bed, and demanding what she wants - which, by way, is not sex, but access to his computer. The woman is Sydney Bristow, and she is an agent for CIA. What's more, Jennifer Garner, actress bringing her to life, is undisputed star of Alias, which premiered in September of 2001 and ended its five-season run in May of 2006.In 1975 essay Visual Pleasure and Narrative Cinema, Laura Mulvey explains that typical female character in a traditional Hollywood narrative is subjected to three male gazes: of camera, which often only focuses on specific body parts, thus reducing her to an object; of main character, for whom she is usually object of desire; and of viewer of film, who, through both filmic techniques and narrative structure is positioned to identify with main character and objectify female love interest. Further, she states that the determining projects its fantasy onto female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness (19). She goes on to state following:As spectator identifies with main protagonist, he projects his look onto that of his like, his screen surrogate, so that power of protagonist as he controls events coincides with active power of erotic look, both giving a satisfying sense of omnipotence. A movie star's glamorous characteristics are thus not those of erotic object of gaze, but those of more perfect, more complete, more powerful ideal ego conceived in original moment of recognition in front of mirror. (20)In years since article has been published, it has been widely anthologized and source of much scholarly debate, largely because, as Brenda Cooper notes, Mulvey's articulation ignored any notion of a feminine spectator; Cooper also notes that many scholars have additionally rejected argument that women identify with film narratives only within masculine parameters suggested by concept of gazes (418). Such scholarship suggests that even if a male gaze does exist, spectators do have capacity to view text in alternate or resistant ways. Other scholars have argued that being object of might even be empowering; as Kathleen K. Rowe contends,... visual power flows in multiple directions and...the position of spectacle isn't entirely one of weakness. Because public power is predicated largely on visibility, men have traditionally understood need to secure their power not only by looking but by being seen-or rather, by fashioning, as author, a spectacle of themselves. …" @default.
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• W2602162153 date "2007-04-01" @default.
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• W2602162153 title "Spy Games Alias, Sydney Bristow, and the Ever Complicated Gaze" @default.
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