MEDIA THEORY

Media Theory



Media Theory

Media Theory

Media theory has become an established field of communication science. Despite the pervasiveness of entertainment media and audiences, as well as their social, economic, and even political relevance, the amount of published research regarding the phenomenon was small for several decades. Often the function of the media in persuasion is perceived to be restricted to the influence of openly persuasive communications such as bulletin editorials, TV advertisements, and public service broadcasts (PSAs). However, other media content may have a more subtle, but more Pervasive, influence on the convictions of the public, despite of it or not this was the aim of the note producer. That is, public convictions are often formed by subtle but repetitive notes comprised in report and amusement media content that are not openly Persuasive.

Laura Mulvey: Feminism And Cinema

The intellectual creations of Laura Mulvey in his writings and in the movies he made can be summarized from a central concern, the production of a feminist critique of traditional narrative cinema and the break with their own systems of visual pleasure, only possibility of building a counter-cinema. His major works were carried out in two major aspects: the critique of the relationship between image and dominant look in classic narrative cinema (2) and the construction of other possibilities and other languages ??look of desire, from a film project art, or cinema, including anti-hence the idea of ??a feminist cinema. It was, however, the first aspect of his criticism, criticism of the male gaze, which ended up winning more visibility (Lacan 1998, pp. 3).

Visual pleasure refers to the enjoyment one feels when viewing an object of desire. Visual pleasure is a common topic in feminist theorizing, including the role it plays in the formation of women's individual and social identity. It has also been the subject of an article by British feminist film theorist and filmmaker Laura Mulvey. This entry focuses on Mulvey's article “Visual Pleasure and Narrative Cinema” and its relevance to feminist intervention, film theory, and psychoanalytic concepts of identity.

Central to Mulvey's ideas on visual pleasure is the notion of the unconscious in patriarchal society being structured around inequality: an inequality that positions women as the inferior “other.” In a short article written in 1973, “Fears, Fantasies and the Male Unconscious; or, You Don't Know What's Happening, Do You, Mr. Jones?” Mulvey reviewed the work of the British Pop artist Allen Jones. This article, along with her essay “Visual Pleasure and Narrative Cinema,” established Mulvey's engagement with Freudian and Lacanian psychoanalytic thinking. Christian Metz and Jean-Louis Baudry had already tried to configure psychoanalytic ideas in relation to the theorizing of the cinema, but Mulvey's essays begin a specific historical intersection of feminist intervention, film theory, and psychoanalysis (Juhasz 2001, pp. 2).

Mulvey's article “Visual Pleasure and Narrative Cinema” does not engage with any empirical research in relation to film audiences. Instead, Mulvey make a political use (in the sense of gender politics) of Sigmund Freud and Jacques Lacan, adapting some of their ...