“There is power in looking,” as bell hooks proposes in her essay, “The Oppositional Gaze: Black Female Spectators.” Hooks primarily aims at critical. Download Citation on ResearchGate | On Jan 1, , Bell Hooks and others published The Oppositional Gaze: Black Female Spectators }. The Oppositional Gaze: Black Female Spectators. A look at the article by bell hooks. Presentation by Russell Brun. Purpose. To gain a critical look at black.
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Thus, feminist film theory similarly effaces the black female spectator. Accessed 01 November If a moment of rupture does not occur, femsle the black female spectator simply accepts the image placed on the screen as truth.
Agency — the ability that a person has to act in a given situation. She was not us”. The Feminism and Visual Cultural Reader.
The Oppositional Gaze: Black Female Spectators – ENGL
The not-white body has been made opaque by a blank stare Meenakshi Gigi Durham and Douglas Kellner. Notify me of new comments via email. You are commenting using your Twitter account. Added to PP index Total downloads 11of 2, Recent downloads 6 months 7 76, of 2, How can I increase my downloads?
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Joanne Rendell – – Journal of Medical Humanities 25 opposituonal In Daughters of the Dustthe character Nana represents the black matriarch that emphasizes to her family to never tje where they came from. There might books a discussion about this on the talk page.
While Olympia confronts the male gaze, her maid confronts the repressed gaze, the oppositional gaze, and the gaze of recognition. All of this to say that not only did Bell Hooks radically influence constructions of identity in film, but she continues to act as a motivating force for progressive social and political change.
Within Freudian theory, people of color are “symbolically and even theoretically excluded from sexual difference”.
It is difficult to talk when you feel no one is listening, when you feel as hpoks a special jargon or narrative has been created that only the chosen can understand… no wonder then that black women have … confined our critical commentary on film to conversations.
In Lacanian theory, modes of power and looking relations are contextualized within the mirror stage.
Bell Hooks, The oppositional gaze : Black female spectators – PhilPapers
This concept leads hooks to ask, “Are we really to imagine that feminist theorists writing only about images of white women Black female representation in film exists primarily in opposition to the white woman’s body. The spectatorz was first developed as a critique of the male gaze by bell hooks in her essay “The Oppositional Gaze: In particular, this article is written in a style that uses language construction in a way to pretend to be erudite, but fails to convey actual meaning.
And I wonder, is that the point that awareness oppositiobal into politicization? To find out more, including how to control cookies, see here: This stage subsequently produces the narcissistic libido and the alienating function of the ‘I’ ” Black male gaze vs. I agree opposotional this is an incredibly complex idea!
Black Independent Film – Spring 2014, Bryn Mawr
The oppositional gaze serves as “a gesture of resistance” to not only the male gaze but also toward the oppression of minorities blwck cinema by the all-inclusive gendering of woman. This resistance that Monica has for what her mother represents is comparable to the resistance black female spectators have towards films that emphasize white-womanhood and the phallocentric gaze.
This gave way to black viewers being able to plot political movements for racial equality based off the make-up of images portrayed in cinema. Further in the article she writes about politicization. She writes that it is not an automatic next step after awareness of racism. A Testimony to Muzil: Nancy Boucher – unknown. Bell Hooks, a pen oppoaitional for Gloria Jean Watkins, is an influential author, activist, and feminist.
New York University, n. We can truly critique what we view with our gaze. Please help us clarify the article. A Confused Gaze in Philadelphia: Specifically, Hooks argues that whitewashed cinema robs black women of narrative agency through not only violent misrepresentations, but also utter lack of representation.