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Pages:
5 pages/≈1375 words
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3 Sources
Level:
MLA
Subject:
Literature & Language
Type:
Movie Review
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English (U.S.)
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Application of Laura Mulvey's Arguments in Visual Pleasure (Movie Review Sample)

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Application of Laura Mulvey's arguments in visual pleasure and narrative cinema to the wolf of the wall street's male gaze

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Application of Laura Mulvey’s arguments in Visual Pleasure and Narrative Cinema to the Wolf of the Wall Street’s male gaze
Introduction
The Visual Pleasure and Narrative Cinema is the work of Laura Mulvey that was influenced by theoretical works of Jacques Lacan and Sigmund Freud. That work helped in advancing film theory orientation towards a psychoanalytic framework. In her piece of work, Mulvey uses concepts of Lacan and Freud as a political weapon where she argues that spectators are put in a subject masculine position by the cinematic apparatus of classical Hollywood cinema (Mulvey 1). This argument arises from the aspect of a woman's figure appearing on screen as the object of desire.
How it is linked to the Wolf of the Wall Street’s male gaze
The Wolf of the Wall Street is the work of Martin Scorsese that shows the trend of a real life finance scam involving Jordan Belfort, who is an artist and narrated by DiCaprio. The story indicates how Jordan moved from small time penny-stock trader to the point of forming Stratton Oakmont that is among the largest brokerage firms on the Wall Street. After the amassing sizable amount of wealth Jordan develops a following similar to a cult, he also introduces questionable stocks to investors to amass more wealth. Later he begins the practice of money laundering and stock manipulation that gives him and his colleagues the pride that drives them to indulge in drugs, sex, and weird behavior (Herbst 1). The film depicts women as playthings meant to entertain and give rich men like Jordan pleasure. This essay shows how the Mulvey's Visual pleasure and narrative cinema arguments are used in the Wolf of the Wall Street's male gaze.
Positioning of the gaze
The gaze appears in various forms, first of all; the gaze positions itself as a political use of psychoanalysis. The woman is undermined throughout the narrative and cinema forming a patriarchal society. The woman is used as a signifier for the male bound by a symbolic order. A man uses the woman to fulfill his fantasies and obsessions via linguistic command by imposing them on the silent image of a woman who remains tied to her place as the bearer of meaning. The narrative cinema shows men to be in charge of a major decision in the society and brings out women as objects that should follow what they are told to do by men (Mulvey 1). The whole narrative does not take into account the tribulations that women undergo because as long as men are well taken care of by women the society everything is assumed to be okay.
The gaze is also positioned as a narration of pleasure derived from looking at sexually stimulating images of women's genitals in what is termed as Scopophilia "love of looking". The narrative cinema also brings out the love of looking as an aspect of selfishness that only considers one group that comprises of those watching while it neglects the moral rights of those exposing their genitals. The narrative also brings out sexual imbalance as an order of the day in the society (Mulvey 2). A woman comes out as a traditional exhibitionist that should be looked at, what the heroine provokes is what counts most, and hence she has no importance at all.
A woman comes out as an erotic object for the spectator within the auditorium and also as an automatic erotic object for the characters within the screen story. The narrative brings out man as the one who makes things happen where he identifies with the main male protagonist. The film opens with the woman being an inferior object; she is isolated and sexualized. However, as the narrative goes on she falls in love with the male protagonist and forms part of his property (Mulvey 2). That makes her outward glamorous characteristics, show-girl connotations and sexuality to fade away. The spectator also gets the opportunity to possess her through participation in his power. Eventually, the dominant look of the male protagonist is broken to favor the image that...
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