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=Jacques Lacan= def ==Jean-Paul Sartre==[[Lacan]]'s first comments on the [[gaze]] appear in the first year of his [[seminar]], in reference to [[Jean-Paul Sartre]]'s [[phenomenology|phenomenological analysis]] of "[[gaze|the look]]."<ref>The fact that the [[English]] translators of [[Sartre]] and [[Lacan]] have used different [[terms]] obscures the fact that both use the same term in [[French]] - ''[[gaze|le regard]]''.</ref> For [[Sartre]], the [[gaze]] is that which permits the [[subject]] to realize that the [[Other]] is also a [[subject]].

The concept <blockquote>My fundamental connection with the Other-as-subject must be able to be referred back to my permanent possibility of '''gaze''' (often also called '''the gaze''' or, in French, ''le regard''), in analysing [[Visual perception|visualbeing]] [[Mass media|media]], is one that deals with how an audience views other people presentedseen'' by the Other. The concept of the gaze became popular with the rise of postmodern philosophy and social theory and was first discussed by [[1960s]] <ref>[[FranceJean-Paul Sartre|French]] [[intellectuals]]Sartre, namely [[FoucaultJean-Paul]]. ''s description of the [[medical gaze]] Jean-Paul Sartre|Being and [[LacanNothingness: An Essay on Phenomenological Ontology]]'s analysis of the gaze's role in the [[mirror stage]] development of the human [[psyche]], trans. Hazel E. This concept is extended in the framework of Barnes, [[Feminism|feministLondon]] theory, where it can deal with how [[man|men]] look at [Methuen, 1958 [woman|women1943]], how women look at themselves and other women, and the effects surrounding this.p. 256</ref></blockquote>

== Forms of gaze Subject==When the [[Image:Gericault_Insane.jpg|thumb|right|subject]] is surprised by the [[Théodore Géricaultgaze]]'s ''Insane'' of the [[Other]]The gaze can be characterized by who is doing , the looking: * the spectator's gaze: the spectator who [[subject]] is viewing the textreduced to [[shame]]. This is often us, the audience of a certain text<ref>[[Jean-Paul Sartre|Sartre,* intraJean-Paul]]. ''[[diegesisJean-Paul Sartre|diegeticBeing and Nothingness: An Essay on Phenomenological Ontology]] gaze'', trans. Hazel E. Barnes, where one person depicted in the text who is looking at another person or object in the textLondon, such as another character looking at anotherMethuen,* extra-diegetic gaze1958 [1943]. p. 261</ref> [[Lacan]] does not, where the person depicted in the text looks at the spectatorthis point, such as an aside, or an acknowledgement develop his own [[concept]] of the [[fourth wallgaze]], or* the cameraand seems to be in general agreement with [[Sartre]]'s gaze, which is views on the gaze of the camera or the director's gaze[[subject]]. These are not the only forms of gaze<ref>{{S1}} p. Other forms include the gaze of an audience within a "text within the text", such as 215</ref> [[Lisa SimpsonLacan]] and is especially taken with [[Bart SimpsonSartre]] watching 's view that the cartoon-within-a-cartoon ''[[Itchy and Scratchygaze]]'' on ''does not necessarily concern the [[The Simpsonsorgan]]'', or editorial gaze, whereby a certain aspect of the text is given emphasis, such as in photography, where a caption or a cropping of an image depicting one thing can emphasize a completely different idea.[[sight]]:

Other theorists such as Gunther Kress and Theo van Leeuwen provide <blockquote>Of course what ''most often'' manifests a look is the idea convergence of two ocular globes in my direction. But the gaze look will be given just as well on occasion when there is a relationship between offering and demanding gaze: indirect gaze is an offer rustling of branches, or the sound of a footstep followed by the spectator[[silence]], where we initiate or the gazeslight opening of a shutter, and the subject is not aware or a light movement of thisa curtain.<ref>[[Jean-Paul Sartre|Sartre, Jean-Paul]]. ''[[Jean-Paul Sartre|Being and direct gaze is a demand by the subjectNothingness: An Essay on Phenomenological Ontology]]'', trans. Hazel E. Barnes, London, who looks at usMethuen, demanding our gaze1958 [1943]. p.257</ref></blockquote>

Gaze can also be further categorized into ==Object==It is only in 1964, with the [[development]] of the concept of ''[[objet petit a]]'' as the direction [[cause]] of [[desire]], that [[Lacan]] develops his own [[theory]] of the [[gaze]], where a theory which is quite distinct from [[Sartre]]'s.<ref>{{S11}}</ref> Whereas [[Sartre]] had conflated the [[gaze]] with the subjects are [[gaze|act of looking at each other]], apart, at [[Lacan]] now separates the two; the [[gaze]] becomes the same [[object]] of the [[gaze|act of looking]], or where one , to be more precise, the [[object]] of the [[drive|scopic drive]]. The [[gaze]] is gazing at another who therefore, in [[Lacan]]'s account, no longer on the side of the [[subject]]; it is gazing at something elsethe [[gaze]] of the [[Other]].<br clear=all>

== Effects of gaze Split==And whereas [[Sartre]] had conceived of an essential reciprocity between seeing the [[Other]] and being-seen-by-him, [[Lacan]] now conceives of an antinomic relation between the [Image[gaze]] and the [[gaze|eye]]:Peleliu stare.jpg|right|250px|thumbnailthe [[gaze|eye]] which looks is that of the [[subject]], while the [[Tom Leagaze]]'s depiction is on the side of the [[object]], and there is no coincidence between the two, since "You never look at me from the [[thousand yard stareplace]]at which I see you." on <ref>{{S11}} p. 103</ref> When the [[Peleliu|Bliliousubject]] looks at an [[object]], the [[Battle of Peleliuobject]]is always already gazing back at the [[subject]]Gazing and seeing someone gaze upon another provides us with , but from a lot of information about our relationship to point at which the subjects, or [[subject]] cannot see it. This [[split]] between the relationships between [[gaze|eye]] and the subjects upon whom we [[gaze]] is [[nothing]] other than the [[split|subjective division]] itself, or the situation expressed in which the subjects are doing the gazingfield of [[vision]].

==Film Theory==The mutuality concept of the [[gaze can reflect power structure, or ]] was taken up by [[psychoanalytic]] [[art|film criticism]] in the nature of a relationship between the subjects1970s, as proposed especially by [[Catherine Lutzfeminist]] and [[Jane Collinsart|film critics]]. However, where this "tellmany of these critics have conflated [[Lacan]]'sconcept of the [[gaze] us who has ] with the right [[Sartre]]an concept of the [[gaze]] and/or need to look at whomother [[ideas]] on vision such as [[Foucault]]'s account of [[Foucault|panopticism]]. Much of so-called "[[Lacan]]ian [[art|film theory]]" is thus the site of great [[conceptual]] confusion.

Gazing can often reflect emotion without speech - in Western culture, continued staring upon another can be quite unsettling upon the subject.  Although it may appear that "gaze" is merely looking at, [[Jonathan Schroeder]] tells us that "it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze". The gaze characterizes and displays the relationships between the subjects by looking. This idea forms a basis of feminist analysis of texts. === Gaze and feminist theory ==See Also=The gaze is used in feminist theory as a means to demonstrate power asymmetries by what is termed ''male gaze'', whereby a man gazes at a woman. Such feminist theorists posit that since it is almost always the female who is being gazed upon by the male, the man exhibits power over the woman. {{See}} This form of gaze can be the sexual gaze by a man towards a woman (so called "taking a pass"), or the gazing of an image of a woman in some text or in the media. * [[Laura MulveyDesire]], identifies the action of ''possessing'' a gaze as being an intrinsically male (the "'''male gaze'''"), and identifies the action of being gazed upon with the female. This harks back to binaries of male/active, female/passive. This idea of power relationships within the gaze can be continued to analyse gendered power relationships in the depictions of women in advertising. Some advertising presents women in a sexual manner, and it is argued that this degrades women because of the power that the gaze provides for heterosexual men viewing these advertisements. Furthermore, * [[Erving GoffmanDrive]] in ''Gender Advertisements'' describes that in his study the placement of men was higher than that of women in an advertisement. This positioning forces the gaze asymmetrically, the male must look down to the woman, and the female up to the man. === Responses to "male gaze" ===Male gaze in relation to feminist theory presents asymmetrical gaze as a means of exhibiting an asymmetrical power relationship, that is, the male gazing upon a female renders the female having an unwanted gaze upon her. However, this may not necessarily be the case; many societies have women who enjoy being gazed upon, [[model (art)|models]] and [[beauty pageant]]s in Western society for example, have women who are willing to be gazed upon. Some second-wave feminist viewpoints would argue whether the women are actually willing or not. Women may be merely seeking to conform to the hegemonic norms constructed to the benefit of male interests that further underline the power of the male gaze. Evolutionary biological explanations for the male gaze also exist.| The question of whether a ''female* '' gaze exists in contrast to the male one arises naturally in considering the so-called male gaze. Mulvey, the originator of the phrase "male gaze", argues that "the male figure cannot bear the burden of sexual objectification. Man is reluctant to gaze...". [[Nalini Paul]] describes ''Wide Sargasso Sea'', where the character Antoinette views Rochester and places a garland upon him to appear as Objet petit a hero, and "Rochester does not feel comfortable with having this role enforced upon him; thus he rejects it by removing the garland and crushing the flowers." In the perspective of male gaze as merely possessing a gaze, the position of a female possessing the gaze is then the female assuming the male gaze. [[Eva-Maria Jacobsson]] supports this by describing a "female gaze" as "a mere cross identification with masculinity". However, disregarding the viewpoint of gendered possession of gaze as proposed by Mulvey above, there is a lot of evidence to support a view of a female gaze, an objectification of men in some texts, such as in some advertisements and teenage magazines. The view that men are somehow reluctant to be gazed upon is also not necessarily supported, for example, at an exhibition called ''The Female Gaze'', where female artists study the male form, [[Therese Mulligan]] mentioned "To get these men who had leered at her on the street to strike these poses was amazing. And you could tell that they loved being looked at by her. These guys aren't attractive, but they sure think they are." The gaze can also be directed toward members of the same gender for several reasons, not all of which are sexual, such as in comparison of body image or in clothing. === Gaze and psychology ===[[Jacques Lacan]], early and influential theorist into [[child development]], found the concept of the gaze important in what he termed "the mirror stage", whereupon children gaze upon their own image and present themselves as the ideal ego.  == References ==* Felluga, Dino. "Modules on Lacan: On the Gaze." Introductory Guide to Critical Theory - see External links.* Jacobsson, Eva-Maria: ''A Female Gaze?'' (1999) - see External links* Kress, Gunther & Theo van Leeuwen: Reading Images: The Grammar of Visual Design. (1996)* Lutz, Catherine & Jane Collins: ''The Photograph as an Intersection of Gazes: The Example of National Geographic''. (1994)* Mulvey, Laura: ''Visual Pleasure and Narrative Cinema'' (1975, 1992)* Notes on The Gaze (1998) - see External links.* Paul, Nalini: ''The Female Gaze'' - see External links* Schroeder, Jonathan E: ''Consuming Representation: A Visual Approach to Consumer Research''. == See also ==* [[Film theoryOptical model]]* [[Eye tracker]]||* [[Eye contactOther]]* [[Evil eye]]* [[Staring contestJean-Paul Sartre]] == External links ==||* [http://www.aber.ac.uk/media/Documents/gaze/gaze.html Notes on The Gaze]* [http://www.staleywise.com/collection/doisneau/doisneau_1.html Robert Doisneau, ''Un regard Oblique'', 1948Split] - another effective photograph illustrating gaze * [http://www.ltcconline.net/lukas/gender/pages/gaze.htm The Male Gaze], with photographs of several advertisements.* [http://www.sla.purdue.edu/academic/engl/theory/psychoanalysis/lacangaze.html Modules on Lacan: On the Gaze]* [http://cid.nada.kth.se/pdf/cid_51.pdf A Female Gaze?] (.[[PDF fileSubject]])* [http://www.sharp.arts.gla.ac.uk/e-sharp/articles/spring_2004/Nalini_Paul-Female_Gaze.htm The Female Gaze]* [http://www.salon.com/mwt/feature/2003/01/30/gaze/index_np.html Salon Life - The Female Gaze]* [http://www.rochestercontemporary.org/dc798.html Review of ''The Female Gaze: Women Look at Men'']{{Also}}

[[Category:Filmtheory]]