“There is power in looking,” as bell hooks proposes in her essay, “The Oppositional Gaze: Black Female Spectators.” Hooks primarily aims at critical. Download Citation on ResearchGate | On Jan 1, , Bell Hooks and others published The Oppositional Gaze: Black Female Spectators }. The Oppositional Gaze: Black Female Spectators. A look at the article by bell hooks. Presentation by Russell Brun. Purpose. To gain a critical look at black.

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Oppositional gaze – Wikipedia

The description of a television screen as opposihional private experience is also interesting, since we often think of media as a very collective thing—produced by many people, very public—and often viewing it is a collective experience, as in a movie theater, which can change the experience. I think her posing the solution of a new vocabulary for this discourse is valid.

Punishing this gaze is abolishing a place where capability, authority, and identity can be dissected. However, according to hooks, the creation of independent black cinema did not actually help the situation of black women. In this way, the spectator is a site of relatively little agency. This, I thought, must be an extremely empowering space- to be able to view material and critique it through a lens that sees but is rarely realized.

The not-white body has been made opaque by a blank stare It is a work of feminist film theorywhich criticizes the male gaze through Michel Foucault ‘s ‘relations oppositiknal power’.

Joanne Rendell – – Journal of Medical Humanities 25 1: Toward an Aesthetics of the Black Female Body. You are commenting using your WordPress. History of Western Philosophy. The other is the lack of validation for these voices. Views Read Edit View history.

Sign in to use this feature. Bodies in Light of the Sartrean Gaze. Even when presented in cinema, black women were the object of male gaze. For example, Julie Dash was one of the first filmmakers to impose the oppositional gaze within the traditionally homogeneous domain of Hollywood with her films Illusions and Daughters of the Dust: Hooks speaks to the power of looking into discourse as a mode of establishing social, political, and racial agency.


This page was last edited on 23 Octoberat Black female representation in film exists primarily in opposition to the white woman’s body. October Learn how and when to remove this template message.

Added to PP index Total downloads 11of 2, Recent downloads 6 months 7 76, of 2, How can I increase my downloads? This entry has no external links. Encyclopedia of Postmodernism, Oct. This stage subsequently produces the narcissistic libido and the alienating function of the ‘I’ ” Wikipedia articles needing clarification from October All Wikipedia articles needing clarification. I agree that this is an incredibly complex idea!

In Daughters of the Dustthe character Nana represents the black matriarch that emphasizes to her family to never forget where they came from. This site uses cookies. Black Female Spectators”, [1] hooks gives the rubric that black woman are not only underrepresented in film, but they are also not allowed to ‘look’ either.

Black female gaze — When it comes to the gaze of black men, hooks argues that it could occur without punishment in theaters and from the comfort of the home. Judith Butler theorizes the feminine gaze as “a pervasive heterosexism in feminist theory”. It seems to me that the oppositional gaze is not always a sign of power, as hooks states.

You are commenting using your Facebook account. New York UP, Furthermore, ‘woman’ as heterogenous sex object functions for and within the patriarchy, reinforcing “white supremacist capitalist imperialist dominating ‘ gaze ‘” [1].

Black Independent Film – Spring 2014, Bryn Mawr

Retrieved from ” https: To find out more, including how to control cookies, see here: In the film Mignon and Esther share a gaze that reveal different aspects of society and how black people are allowed to be displayed.

Bell Hooks, temale pen name for Gloria Jean Watkins, is an influential author, activist, and feminist. The more black female film critic voices there are, the more pressure there will be to change the oppressive structure. While their gazes, the ways in which Dash allows her characters to look, work to deconstruct the cultural spaces that have been set aside for Black womanhood, hoois is my belief that the act of looking in the films goes against the way that hooks sets up the oppositional gaze.


Please help us clarify the article. To find out more, including how to control cookies, see here: For many black women, going to see a typical Hollywood film involved them having to resist the images of white womanhood and the phallocentric gaze. Media and Cultural Studies: If the television screen is space for the unleashing of gazes, it makes it an even more critical point to dissect how they work, free of confinement, for many viewers.

Bell Hooks | The Oppositional Gaze in Practice

The deliberate characterization of the ‘black servant’ is ideologically rooted in the constructs of black female identity as MammyFemalsand Sapphire. Although the director of this film is male, the story and screenplay is written by a black woman. Social pressure gives rise to institutional change.

The narrative of these four friends provides other representations of black women. It is critical to hookd that even in this realm, the concerns around gender relations reinforce an imaginative moment of phallocentric power by black men, a power not disseminated toward black women.

This gave way to black viewers being able to plot political movements for racial equality based off the make-up of images portrayed in cinema.

And I wonder, is that the point that awareness turns into politicization?