Article: Death-watch: terminal illness and the gaze in Sharon Old's 'The Father.'

The publication of Laura Mulvey's "Visual Pleasure and Narrative Cinema" in 1978 initiated a dialogue about the function of the "gaze" that has subsequently moved beyond the boundaries of film theory. Mulvey's discussion of scopophilic viewing in the cinema identified a voyeuristic dynamic in which the erotic identity of the viewing subject is clearly separated from the object (usually a woman) on the screen; the viewer derives pleasure from objectifying the screen persona and subjecting that persona to the power of the controlling gaze. The success of film criticism in denaturalizing the act of looking in the cinema--i.e., exposing the way in which the viewer's gaze may ...

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