Spectatoship and the 'Male Gaze'

Representation of women:
- Fragile ( needs a man's strength)
- Clothing (white to present blood or convey innocence/purity, slightly revealing - low cut, Blond/brunette, victim/survivor)
- Position in relation to men tend to be - married, submissive)
- Men are the dominant gender
- Sacrificed (e.g. Nosferatu)
- Camera angles - low angle viewpoint towards men, high angle viewpoint from men)
- Camera pans up and down on figure (sizing the female posture)

Freud's Psychoanalytic Theory:
- Born with ID/Superego
- Oedipus complex
- Phallic symbolism

1950s Dracula: Hammer
- Low angle of women
- Manipulation
- Male dominance
- Seduction
- Shadows
- Male responds with pity, attraction

Laura Mulvey - Visual Pleasure and Narrative (1975):

• Women are presented as sexual spectacle and objects of pleasure for the characters and audience
• Men have this gaze to avoid being 'castrated'
• Men fetishise women imbuing them with an overvalued and unrealistic status - 'fetishistic scopophilia'
• The gaze is constructed through camera man and production team establishing and framing a shot, by the 'look' within the film of the male spectators gaze is thereby constructed through these mechanisms.

Supporters:

- Ann Doanne (1982) added women have a 'marginal game' within the film, just like in patriarchal society.

- Suzanne Moore (1988) added male bodies are on display in certain conditions (they are always in active poses as if they can walk away from the woman's gaze)

- Van Zoonen (1994) 'men look at women, women watch themselves being looked at'.