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Laura Mulvey (born 15 August 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position. During the 2008-09 academic year, Mulvey was the Mary Cornille Distinguished Visiting Professor in the Humanities at Wellesley College.〔(Newhouse Center for the Humanities ) Newhouse Center for the Humanities - Personnel - Wellesley College〕 Professor Mulvey has been awarded three honorary degrees: in 2006 a Doctor of Letters from the University of East Anglia; in 2009 a Doctor of Law from Concordia University; in 2012 a Bloomsday Doctor of Literature from University College Dublin. ==Film theory== Mulvey is best known for her essay, (Visual Pleasure and Narrative Cinema ), written in 1973 and published in 1975 in the influential British film theory journal ''Screen''. It later appeared in a collection of her essays entitled ''Visual and Other Pleasures'', as well as in numerous other anthologies. Her article, which was influenced by the theories of Sigmund Freud and Jacques Lacan, is one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz used psychoanalytic ideas in their theoretical accounts of the cinema. Mulvey's contribution, however, inaugurated the intersection of film theory, psychoanalysis and feminism. Mulvey states that she intends to use Freud and Lacan's concepts as a "political weapon." She employs some of their concepts to argue that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire and "the male gaze." In the era of classical Hollywood cinema, viewers were encouraged to identify with the protagonists, who were and still are overwhelmingly male. Meanwhile, Hollywood women characters of the 1950s and '60s were, according to Mulvey, coded with "to-be-looked-at-ness" while the camera positioning and the male viewer constituted the "bearer of the look." Mulvey suggests two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing woman as image "to be looked at") and "fetishistic" (i.e. seeing woman as a substitute for "the lack," the underlying psychoanalytic fear of castration). Mulvey argues that the only way to annihilate the patriarchal Hollywood system is to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods. She calls for a new feminist avant-garde filmmaking that would rupture the narrative pleasure of classical Hollywood filmmaking. She writes, "It is said that analysing pleasure or beauty annihilates it. That is the intention of this article." "Visual Pleasure and Narrative Cinema" was the subject of much interdisciplinary discussion among film theorists that continued into the mid 1980s. Critics of the article pointed out that Mulvey's argument implies the impossibility of the enjoyment of classical Hollywood cinema by women, and that her argument did not seem to take into account spectatorship not organised along normative gender lines. Mulvey addresses these issues in her later 1981 article, "Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by King Vidor's Duel in the Sun (1946)," in which she argues a metaphoric 'transvestism' in which a female viewer might oscillate between a male-coded and a female-coded analytic viewing position. These ideas led to theories of how gay, lesbian, and bisexual spectatorship might also be negotiated. Her article was written before the findings of the later wave of media audience studies on the complex nature of fan cultures and their interaction with stars. Queer theory, such as that developed by Richard Dyer, has grounded its work in Mulvey to explore the complex projections that many gay men and women fix onto certain female stars (e.g. Doris Day, Liza Minnelli, Greta Garbo, Marlene Dietrich, Judy Garland). Feminist critic Gaylyn Studlar wrote extensively to problematize Mulvey's central thesis that the spectator is male and derives visual pleasure from a dominant and controlling perspective. Studlar suggested rather that visual pleasure for all audiences is derived from a passive, masochistic perspective, where the audience seeks to be powerless and overwhelmed by the cinematic image. Mulvey later wrote that her article was meant to be a provocation or a manifesto, rather than a reasoned academic article that took all objections into account. She addressed many of her critics, and clarified many of her points in "Afterthoughts"(which also appears in the ''Visual and Other Pleasures'' collection). Mulvey's most recent book is titled ''Death 24x a Second: Stillness and the Moving Image'' (2006). In this work, Mulvey responds to the ways in which video and DVD technologies have altered the relationship between film and viewer. No longer are audience members forced to watch a film in its entirety in a linear fashion from beginning to ending. Instead, viewers today exhibit much more control over the films they consume. In the preface to her book, therefore, Mulvey begins by explicating the changes that film has undergone between the 1970s and the 2000s. Whereas Mulvey notes that, when she first began writing about films, she had been "preoccupied by Hollywood's ability to construct the female star as ultimate spectacle, the emblem and guarantee of its fascination and power," she is now "more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame." With the evolution of film-viewing technologies, Mulvey redefines the relationship between viewer and film. Before the emergence of VHS and DVD players, spectators could only gaze; they could not possess the cinema's "precious moments, images and, most particularly, its idols," and so, "in response to this problem, the film industry produced, from the very earliest moments of fandom, a panoply of still images that could supplement the movie itself," which were "designed to give the film fan the illusion of possession, making a bridge between the irretrievable spectacle and the individual's imagination." These stills, larger reproductions of celluloid still-frames from the original reels of movies, became the basis for Mulvey's assertion that even the linear experience of a cinematic viewing has always exhibited a modicum of stillness. Thus, until a fan could adequately control a film to fulfill his or her own viewing desires, Mulvey notes that "the desire to possess and hold the elusive image led to repeated viewing, a return to the cinema to watch the same film over and over again." However, with digital technology, spectators can now pause films at any given moment, replay their favorite scenes, and even skip the scenes they do not desire to watch. According to Mulvey, this power has led to the emergence of her "possessive spectator." Films, then, can now be "delayed and thus fragmented from linear narrative into favorite moments or scenes" in which "the spectator finds a heightened relation to the human body, particularly that of the star." It is within the confines of this redefined relationship that Mulvey asserts that spectators can now engage in a sexual form of possession of the bodies they see on screen. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Laura Mulvey」の詳細全文を読む スポンサード リンク
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