http://www.inquiriesjournal.com/keyword/laura-mulvey Inquiries Journal provides undergraduate and graduate students around the world a platform for the wide dissemination of academic work over a range of core disciplines. en-us Fri, 05 Jun 2026 09:35:32 -0400 Fri, 05 Jun 2026 09:35:32 -0400 http://www.inquiriesjournal.com/articles/933/man-as-image-clark-gable-james-dean-and-the-audience-that-looked-at-them By Anna J. Varadi - In her seminal essay "Visual Pleasure and Narrative Cinema" Laura Mulvey (1975) connects psychoanalytic concepts of scopophilic desire1 and Jaques Lacan's theory of the Mirror Stage2 (1966), to the cinema spectator's gaze. Mulvey limits her argument to the "active/male" gaze looking at a "passive/female" figure (p. 11), however, several critics note that "her remarks [can] apply … to images of men" (Neale, 1983, p. 4; Hansen, 1986; Koch, 1985). Following this line of thought, I use Mulvey's  ideas, particularly her linking of the Mirror Stage with processes of identification, to discuss... Thu, 30 Oct 2014 01:47 EDT http://www.inquiriesjournal.com/articles/933/man-as-image-clark-gable-james-dean-and-the-audience-that-looked-at-them http://www.inquiriesjournal.com/articles/88/an-analysis-of-billy-wilders-double-indemnity By Katherine Blakeney - But what about Phyllis herself? Is she really an object or a human being, and to what extent does she attempt to “castrate” the male characters in the film? In her dealings with Walter she is always cool and collected. She has no conscience, no scruples, and hardly any feelings other than greed and frustration. Even her final admission that she is in love with him can be interpreted as a last attempt to save her own life rather than a glimmer of humanity. Presumably, if Walter is touched by her admission and lowers his gun, she can still turn on him and kill him. After all, she did... Mon, 14 Dec 2009 11:04 EST http://www.inquiriesjournal.com/articles/88/an-analysis-of-billy-wilders-double-indemnity