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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Representation of Women in the Film "Great Expectations" (1998) by Alfonso Cuarón

Representation of Women in the Film "Great Expectations" (1998) by Alfonso Cuarón

Cvetanova, Lora

Paperback

General Gender StudiesGeneral Political Science

ISBN10: 3656719128
ISBN13: 9783656719120
Publisher: Grin Verlag
Published: Sep 4 2014
Pages: 20
Weight: 0.08
Height: 0.05 Width: 5.83 Depth: 8.27
Language: English
Research Paper (undergraduate) from the year 2014 in the subject Gender Studies, grade: B, Université Toulouse II - Le Mirail (English Department), course: Master in English Studies and British Cinema Studies., language: English, abstract: Laura Mulvey states in her work 'Visual Pleasure and Narrative Cinema' that ' in a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/ female.' She implies that women are displayed as sexual objects for the men's gaze and she calls this concept to-be-looked-at-ness. From the above several shots we may consider that to be -look -at -ness concept is at present. Estella displays herself for Finn's gaze but she is not passive. She enjoys her power over him and uses her sexuality to hold his look and disturb him. He has become like a toy for her. On the other hand, Annette Kuhl suggests in chapter one of her work under the name 'The Power of Image: Essays on Representation and Sexuality' that 'It is now a commonplace that the transformation of the unclothed woman from being naked to being nude(one of the major 'achievennts' of the european high traditions) also bring about, in all forms of representations, the transformatin of women into objects, the site of stuctures both of exchange and of looking. The spectator is the buyer, the buyer is the spectator. To posses a woman's sexuality is, however mass-produced the image, also in the same way to posses, to maintain a degree of control over, woman in general' . Even though at first sight we tend to underestimate Finn and to think of him as a victim of the cold Estella, we realize that he, by drawing her naked, transforms her into an object of men's gaze as the above citation suggests. Thus, he maintains certain control over her. By exposing her paintings later in the film, in a galary, he in a way confirms to the public he posses her. Merrie Johnson argues that narrative cinema produces a masculinization of the female specta

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