(9) Note that for Freud, scopophilia
is the umbrella term for a "component drive" which includes both voyeurism and exhibitionism as its respectively active and passive forms of expression.
There is thus ample room for verbal narratives to exploit in their audiences the scopophilia
and voyeurism that drive the gaze of Mulvey's hypothetical male viewer, as we have already noted in the case of Euripides' presentation of the sacrifice of Polyxena; in fact, two of the three passages just cited use the trope of the superiority of autopsy over hearsay to elicit via a verbal narrative a visualization of the primary viewing experienced by a figure in the narrative.
(54.) Voyeurism itself can be seen as both an assertion of power and an admission of anxiety, as noted in Metzl, "From scopophilia
to Survivor," 417.
(10) Just as scopophilia
becomes exhibitionism and the subject becomes the object, so does reflexivity involve a loop or turn.
, a sumptuous, three-course banquet, is Goldin's first foray into empathic socialization and positive humanity.
Enter a deeply handsome man with the authority of Empire, quietly but intently, who begins to reframe cinema and introduce me to scopophilia
, an understanding of subtext and the radicality of subversion--something that art-school amazingly had left out.
While Kemal's "westernized," upper-class scopophilia
reveals his objectifying of Fusun, the novel makes it clear that economic factors and class differences determine the "Western" or modern identity of the Turks and ultimately segregate them.
(40) Like many others in other contexts, Spanos has recognized the tyranny of the reasoning eye in Moby-Dick, though presumably he would not want to reduce Ishmael here, unlike Mapple, to some scopophilia
. On the other hand, we are precisely interested in how such a reasoning thing can turn back on itself in the name of the Other.
In claiming it as her own, she disrupts the omnipotence of phallocentric scopophilia
. Camera and represented body work in tandem, ultimately imbuing the representation with power.
While the stark black backdrop provides a visual echo for the significance of Riggs's race and suggests the danger of dark skin vanishing into the darkness of nonexistence, the revelation of the filmmaker's naked body turns the notion of visual scopophilia
on its head.
As they did in Greetings, De Palma and Charles Hirsch conceived the story and the screenplay; De Niro returns as Jon Rubin; Gerrit Graham also returns, albeit as "Gerrit Wood." (Interestingly, there is neither the return of Greetings's Paul nor the actor who played him, Jonathan Warden.) The interest in scopophilia
that marks Greetings--its riffs on Blow Up, its fascination with the perspectival grassy knoll vantage point of the JFK assassination, the Zapruder film--becomes an obsession in Hi, Mom!, which was also known as Confessions of a Peeping Jon, an alternate title that riffs on another De Palma obsession, Michael Powell's famous 1960 film Peeping Tom, and, implicitly, on Hitchcock's 1954 Rear Window.
Welty continually frames her characters through visual fetishes--King's hat, Virgie's red sash, Miss Eckhart's "feminine ankles." In this way, she duplicates the cinema's scopophilia
, the pleasure, according to Laura Mulvey, associated with "taking other people as objects, subjecting them to a controlling and curious gaze" (835).