The Eyes Of The Political, Gender Perspective

It had been long since the setup of the tradition of Ocularcentrism and the dualistic structure of the male's looking and the female's being looked at has also sank deeply into people's mind for thousands of years. Yet with the deconstruction of the "subject" in modern philosophy as well as the disclosure of the political and psychological identities of the "look" ocularcentrism dissolved while the dichotomy of the genders based on their visual relations stayed still. Women are still the signifiers of men's desire in mass media and suffer from the opposition and disciplinary power of men's gaze. So the tension of gender politics grows during people's looking and being looked at everyday. As we come into an age of visual culture when the objects of our gaze grow exponentially the growing intention of the marketing economy to objectify women and identify them as the symbols of desire imposes on women an even fiercer visual oppression. So women have tried to fight against these erotic and demeaning gazes with feminist film criticism and cinematic practices in order to set up a new way of looking. The "reality-producing" cinema is where the tension of this visual politics reaches its peak and thus the heated discussion of it in the feminist film critics.This essay starts with the elaboration of the Ocularcentrism and the cinematic apparatus and then takes a deep analysis of the positions of both men and women in the visual politics as well as the political attributes and psychological basis of the "look" or "gaze". After that we begin our exploration of a new visual relationship and the setup of an equal position of women in it. The feminist film critiques are the theory basis here, yet the psychological theory of Freud and Lacan as well as some other theories are being employed to achieve a detailed presentation of the visual relations between man and woman.