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Skip to main content. You're using an out-of-date version of Internet Thelma looking for her louise. Log In Sign Up. Reclaiming Mulvey's Male Gaze.

Was it a feminist movie? What the hell was it? Was the violence okay or was it bad for women? What about role ror More often than not, women tap into this pleasure through identification with the male protagonist or, perhaps through an oppositional gaze, resisting on-screen representations of women.

Mulvey also lays out a means louisee which alternative forms of narrative cinema can reclaim the gaze through the destruction of pleasure: Therefore, in order to destroy louide challenge the pleasure and traditions of mainstream film, alternative forms of narrative cinema must emerge to transcend the aforementioned practices that enable its definitive male gaze. Through these new forms, female spectators have the power to identify with Wives wants hot sex Parthenon characters which coincides with the active power of the erotic look; perhaps, it is men who are then marginalized in alternative narrative cinema.

The opening scenes of the film place the pair in their respective females spheres: Thelma as subservient housewife and Louise as diner waitress. As we see Louise fulfill her traditionally feminized role as a waitress, Thelma looking for her louise camera follows Thellma action alone as she moves from table to table.

Louise (Susan Sarandon) in Thelma & Louise

The same direction is repeated as housewife Thelma scuttles about Thelma looking for her louise kempt home readying breakfast for her demanding husband. Scott thus appropriates the techniques used by mainstream directors to enable the controlling male gaze, in order to reclaim the gaze and awards them to his female protagonists.

Ridley Scott, prod. Ridley Scott, by Callie Khouri, perf. The absence of a point-of-view shot prevents the actualization of Darryl as screen surrogate.

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That is, the kooking direction of the opening scenes, through camera movements following the female protagonists, activates the women and enables them to control both the narrative and the identification process of their viewers. The near-rape represents both an assertion of Thelma looking for her louise power and maintenance of the gaze, positioning male perpetrator as active and controlling and female victim as unresisting and to-be-acted-upon. This is promptly challenged, though not without a struggle, in the instant Louise locates and intervenes on Thelma and Find singles online in New Hampshire violent rapist Harlan in the oouise lot: Let her go.

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The Many faces fr Thelma and Louise. Film Quarterly, 45 2 Chumo II,p. I should have gone ahead and fucked her. We hear his body HIT the gravel parking lot.

Such realism is maintained here through a series of match cuts23 that maintain spatial-visual logic between differently positioned shots within a scene. Rather, the point-of- view shots are from the lookong of Thelma but mostly Louise and consequently eye-line!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

This subjective camera use and editing that maintains realism incites audience identification with the female protagonists.

Additionally, Scott and Fir promote audience identification by associating Thelma Lookin for date Louise with ideological correctness as Thelma looking for her louise and intervener, respectively.

It bears mentioning that, while the film and its female protagonists do reclaim the male gaze, Thelma and Louise are not immune to Thelma looking for her louise gaze itself within the film. For instance, when they arrive at the Silver Bullet saloon, men Thelma looking for her louise and watch them as they walk across the room.

Paralleling the near-rape of Thelma, the pair acknowledges this gaze and reclaims it through violent response that demonstrates dissention and refusal. Considering the recurring character of the hounding and lewd truck driver, the women refuse his gaze precisely by playing into it. Tired of his antics, Thelma Adult singles dating in Baytown, Texas (TX). Louise pretend to be interested in the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

British Film Institute,pg. The significance of this scene is reinforced by the heavy use of the female subjective camera. Director Ridley Scott, again, appropriates traditional camera use to produce an erotic look, initially between Thelma and hitchhiker J.

While on the road, Thelma, waiting in the car for Louise, puts on her lipstick and adjusts her mirror to watch hunky hitchhiker J.

The camera affirms her desire by making J. On a larger scale, consider the way in which traditional mainstream Hollywood cinema, as Mulvey notes, shamelessly maintains a male gaze through the repeated objectification of women! For instance, Scott slowly pans up J.

The film succeeds in its reclamation of the!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Works Cited Carlson, Margaret. Accessed May 18, Cooper, Brenda. GenderWatch [ProQuest].!

Man, Glenn.

Accessed May 16, Play sexual game, L. Sturken, Marita. Thelma looking for her louise Film Institute, !

Directed by Ridley Scott. Produced by Ridley Scott. By Callie Khouri. Performed by Susan Sarandon and Geena Davis. United States: Metro Goldwyn Mayer, Figure 1.

Thelma watches J. Figure 5. Slow-pan and fragmented shot of J. Related Papers. Female Gaze in Thelma and Louise. By Emma Gardner. By Lisa Miller. Feminist cinema as counter cinema: Is feminist cinema counter cinema?

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Subversion of the Male Gaze: By Jade Bitomsky. This is a Man's World: By Janina S Zimmer. Download pdf.

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