Visual And Other Pleasures
Condition: SECONDHAND
This is a secondhand book. The jacket image is a photograph of the exact copy we have in stock. This image shows the condition of this book. Further condition remarks are below.
Condition remarks:
Condition: Good to fair. Paperback. Page Condition: Good - possible tanning. Markings: possible previous owner inscription.
Few texts have reshaped the landscape of feminist film theory as decisively as Visual and Other Pleasures. Laura Mulvey, one of the most incisive cultural critics of the twentieth century, presents a groundbreaking collection of essays that dissect the mechanisms of visual representation, desire, and the male gaze — a concept she famously introduced to cinema studies in her landmark 1975 essay Visual Pleasure and Narrative Cinema. With surgical precision and theoretical rigour, Mulvey argues that mainstream Hollywood cinema constructs the act of looking as an inherently gendered experience, positioning woman as spectacle and man as the bearer of the gaze. Drawing on psychoanalytic theory, semiotics, and Marxist cultural analysis, Mulvey illustrates how cinema, photography, and visual culture at large encode patriarchal ideologies into their very structures of representation. Part of the Theories of Representation and Difference series edited by Teresa de Lauretis, this collection stands as a cornerstone of feminist and screen theory, its arguments as urgent and provocative today as when first written. Whether one agrees or dissents, Visual and Other Pleasures demands an answer — and that is the mark of essential reading.
Author: Laura Mulvey
Format: Paperback
Genre: Literary theory
Condition remarks:
Condition: Good to fair. Paperback. Page Condition: Good - possible tanning. Markings: possible previous owner inscription.
Few texts have reshaped the landscape of feminist film theory as decisively as Visual and Other Pleasures. Laura Mulvey, one of the most incisive cultural critics of the twentieth century, presents a groundbreaking collection of essays that dissect the mechanisms of visual representation, desire, and the male gaze — a concept she famously introduced to cinema studies in her landmark 1975 essay Visual Pleasure and Narrative Cinema. With surgical precision and theoretical rigour, Mulvey argues that mainstream Hollywood cinema constructs the act of looking as an inherently gendered experience, positioning woman as spectacle and man as the bearer of the gaze. Drawing on psychoanalytic theory, semiotics, and Marxist cultural analysis, Mulvey illustrates how cinema, photography, and visual culture at large encode patriarchal ideologies into their very structures of representation. Part of the Theories of Representation and Difference series edited by Teresa de Lauretis, this collection stands as a cornerstone of feminist and screen theory, its arguments as urgent and provocative today as when first written. Whether one agrees or dissents, Visual and Other Pleasures demands an answer — and that is the mark of essential reading.