In reclaiming the era, Kelly Reichardt created a representation that centers the experiences of those not served by the traditional Western. A view of the life of women divorced from the patriarchal lens, a view of the treatment of Native Americans divorced from the lens of white supremacy.
My intent is not to claim that ‘Twilight’ is a perfect movie, but rather, I want to argue that it has more virtues than it is given credit for, and to point out that its dismissal is frequently based on pervasive sexist attitudes. I am not speaking for the other films in the series — all directed by men — but rather, the first film, which was written and directed by women (Melissa Rosenberg and Catherine Hardwicke, respectively), based on a novel written by a woman. There are many valid reasons why one may not enjoy ‘Twilight,’ but it is important to recognize that it is unfair and sexist to dismiss the film and its fans based on the fact that it is a romance told from a female perspective.
We so often view films through the Male Gaze with camera shots that are more interested in capturing the way a woman’s body looks under the guise of “sex sells” that it’s become somewhat of the norm. While ‘Working Girl’ is appreciative of the beauty between Sigourney Weaver and Melanie Griffith, it employs a “female gaze” so to speak with Harrison Ford.
The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.
I like Mindy Kaling and I like her show, but the season premiere demonstrates how, like many series, ‘The Mindy Project’ has ambivalent feelings about what kind of sex is OK.
Directors Amma Asante and Gina Prince-Bythewood illustrate that when a story is told through the eyes of the second sex, themes, such as romance, self-worth, and identity are fully fleshed out. By examining an 18th century British aristocrat and a 21st century pop superstar, it proves that in the span of three centuries, women still face adversity in establishing a firm identity, apart from the façade, amongst the white noise of societal expectations.
The female gaze is more than simply “reversing” the male gaze; it allows for a questioning of why the male gaze is so inherently built into cinema and why women are aggressively sexualised within cinema. With ‘Abuse of Weakness,’ Breillat attacks both of these concerns whilst also actively encouraging identification with Maud – our female protagonist.
In any fandom based on visual media, fangirls are attacked because of the way the female gaze is misunderstood and misrepresented.
The show treats the bodies of living women with the same respect that it treats those of dead ones.
The desire to show a complex version of yourself seen with male characters in the Male Gaze, alongside a desire for a complex version of your partner seen with male recipients of desire in the Female Gaze, combines in the Queer Female Gaze to produce sexual and romantic relationships often rooted in friendship.
The female gaze, such as it exists in a world that denies its existence, is an insular one that exists between Adele and Emma as opposed to how the film itself is shot. The film presents the case for the female gaze by examining what happens when it’s withheld.
In fact, many of the clients grow to appreciate the benefit of the female gaze, making their products truly (for the most part) appealing to women. This makes more profit than the false patriarchal ideas of a woman’s wants and needs. With the character of Peggy, Weiner is able to let us see the advertising world from the female gaze to criticize the falsehood that lies in selling female products with a male gaze.