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Elizabeth S. Leet

palfreys. 1 By using their wealth, courtly animals, and physical beauty to free their lovers, each fairy mistress participates actively in the male gaze and circumvents the social expectations levied on many courtly women. Although the male gaze has often

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Elizabeth Mazzola

outlined patterns of separation and alignment which match bride and groom but also divide them appear in Spenser’s other nuptial poems, and these works are equally anxious to repair a disabled male gaze and supplement Spenser’s viewpoint with that of the

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Evdokia Prassa

This article examines the quotations of Elizabeth I’s iconic portraiture as Virgin Queen in Shekhar Kapur’s Elizabeth (1998) and Elizabeth: The Golden Age (2007), and their effect on our a posteriori conceptualization of the depicted body of the female sovereign. Using Mieke Bal’s concept of preposterous history, I argue that Kapur’s transposition of Virgin Queen iconography onto celluloid results in a “(complex) text” that “is both a material object and an effect” (1999: 14). Bal acknowledges that the complexity that lies in the material results of the artistic quotation is not necessarily subversive, as it is dependent on the quoting artist’s ideological premise. Indeed, Kapur’s intermedial quotation of Elizabethan portraiture imbues the highly complex body of the female ruler with contemporary heteronormative notions of female sexuality, thereby reducing it to an object for the male gaze.

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Ovarian Psycos

An Urban Cadence of Power and Precarity

Jennifer Ruth Hosek

men in a car visually represents the male gaze she describes (see Figure 1 and Figure 2 ). Figure 1 and Figure 2 Men in an automobile, inserted as a POV counter shot among sequences of Evie bicycling ( Ovarian Psycos minute 2:30; private Vimeo link

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Jasmyn Galley

—one woman at the mercy of five men. Like Black Lady Halked, Gazelle is a spectacle, an object of the male gaze. However, unlike Black Lady, Gazelle is seen as a toy that promises sexual pleasure. Although a woman’s sexual appeal can be read as a form of

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Gazing at Medusa

Adaptation as Phallocentric Appropriation in Blue Is the Warmest Color

Marion Krauthaker and Roy Connolly

with the negative impact of male-oriented representations of women. Laura Mulvey coins the term ‘male gaze’ to describe a representation influenced by a patriarchal and binary standpoint. 4 In Mulvey’s view, by assuming heterosexual men as the default

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Dhan Zunino Singh

illustrated by a 1928 drawing of subway passengers, published by an important magazine for middle-classes families and women, El Hogar (Home), where a female passenger is the object of male gazes ( Figure 2 ). The faces and clothes of men represented in this

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Steen Ledet Christiansen

in the sex scene between Nina and Lily, simultaneously disrupting the male gaze and correlating with Nina’s more emancipatory attempts. As far as the male gaze goes, the sex scene rejects the easy objectification of either of the women. Their bodies

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Emma Celeste Bedor

Internet sties is not the classical male gaze but a post–third wave feminist punishing gaze because revenge pornography is not about sex but about revenge and humiliation. As a result, revenge pornography fits neither Foucault’s (1978) framework of a

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

Laura Mulvey's concept of the male gaze and patriarchal cinema: The Magic of Hollywood style at its best (and of all the cinema which fell within its sphere of influence) arose, not exclusively, but in one important aspect, from its skilled and