ABSTRACT. For the last thirty years, feminist film theory has explored gender in cinema through detailed analysis of filmic texts, focusing on elements such as modes of narrative address, structuring principles of vision, and patterns of identification. Beginning with Laura Mulvey’s landmark essay, “Visual Pleasure and Narrative Cinema,” the evolution of feminist film theory was grounded in a paradigm of sexual difference in which the gaze of spectorial pleasure was affiliated with masculinity, and the “female” within mainstream cinema was assigned the position of object and spectacle, connoting, as Mulvey put it, an exemplary “to be looked-at-ness.” Now, a recent generation of feminist film theorists has critiqued this founding paradigm, and the axioms of psychoanalysis on which it was based, arguing that it does not allow for other forms of difference: sexual orientation, race, and ethnicity. These arguments were largely based in deconstructions of mainstream (i.e. Hollywood) films. pp. 15–29

Keywords: female gaze, cinematography, camerawoman, female director of photography, gender difference

How to cite: Dirse, Zoe (2013), “Gender in Cinematography: Female Gaze (Eye) behind the Camera,” Journal of Research in Gender Studies 3(1): 15–29.