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The film's emphasis on human form is not a marketing strategy but serves to underline female repression under the definitive and oppressive power of the male gaze.
This does not invalidate the "male" gaze that circumscribes the female characters in the novel; rather, it selectively adapts the panoptic forces of the male gaze to manage and ameliorate Perry Smith's effeminized existence within the text.
A feminist anti-pornography account of this resignification of the workout video genre into pornography could lie on the reaffirmation of the male gaze and violence exercised upon female body, and how the workout video is a female practice at male service, servicing their appetites, fantasies and notions of beauty for desire.
In "Visual Pleasure and the Narrative Cinema," Laura Mulvey argues that fascination for cinema is rooted in voyeurism and fetishism, and that image is structured according to a phallocentric order within which the active male gaze is opposed to the passive female image.
Additionally, see Tania Modleski's summary of the debate over the male gaze in cinema and Edward Snow's critique of the feminist reaction against the gaze as a motif of the masculine power.
Ironically, he mimics the traditional female paradox of accepting subjection to the male gaze as a way of achieving a form of power over the male.
While feminist scholars accuse her of collusion with the male gaze and an ensuing blindness to artistic misogyny, Krauss finds feminist attachment to fixed categories of making and viewing limiting and (like Duchamp's ceaselessly automated bride and bachelors) bound to perpetuate an endless campaign of insult and vigilance.
The sum is both greater, and less, than its parts, for in the rich description of the ways that performances popularize Shakespeare, Hodgdon repeatedly returns to the power of the heterosexual male gaze.
In the most innovative of these analyses, Shires argues that the conventional equation between male gaze and power is subverted in Far from the Madding Crowd, the character with the most relentless gaze, Boldwood, proving to be one of the least powerful.
The corpus of Percy's work projects a powerful conventional male gaze.
And it's more difficult still to account for the fact that women started going to the movies in earnest just when a narrative cinema was being instituted allegedly for the benefit of the dominating male gaze.
International make-up artist and activist Georgina Graham, who has worked for fashion's biggest names, believes the dominance of the male gaze in fashion imagery is the key factor.