Female Spectators Research Articles

“It is you standing there”: Entering Theresa Hak Kyung Cha's Performance Space in Dictee

ABSTRACT Cha's most well-known work, Dictee (1982), is a mixture of lineated and prose poetry that includes film form (e.g., the inclusion of camera angles in the textual description of a character) and is punctuated by various images, stills from movies, and documents, among other things. The act of featuring the female film spectator as actually stepping into the movie screen from the very beginning of the “Erato Love Poetry” section of Dictee posits its reader, and especially the female reader, as being able to enter the text by way of the frequent white spaces or gaps that are intentionally left between letters, words, and pages. Cha thus empowers her female reader to be actor rather than merely acted upon, seer rather than merely seen.

From "Pretty Emulation" to "Fresh Discoveries": Entomological Observation & Female Empiricism in Eliza Haywood's The Female Spectator

From "Pretty Emulation" to "Fresh Discoveries":Entomological Observation & Female Empiricism in Eliza Haywood's The Female Spectator Anna K. Sagal The Female Spectator (1744–46) is among the most significant periodical publications of the eighteenth century, not least for its innovative discussions of a wide range of issues pertaining to women's experiences and education. Across the two years of its publication history, Eliza Haywood penned immensely popular issues that addressed everything from romance and courtship to politics, religion, and science. One of the most remarkable of these topics is her active endorsement of female scientific practice, initially articulated through the male persona Philo-Naturae. In his dialogue, she presents a perfunctorily conservative position that the female eidolon converts to a subtly rebellious undertaking, ultimately disrupting conventional narratives about women's relationship to nature. Through her inventive portrayal of women engaging in naturalist work, Haywood cannily interrogates the relationship among women, their scientific subjects, and the spaces in which scientific labor is undertaken. In doing so, she presents a case for women's unique access to a domestically rooted form of empiricism, in which women could leverage their position as domestic subjects into one of limited scientific authority. A careful study of this dynamic also highlights her pivotal role in shaping eighteenth-century science for women. Like other essay periodicals, The Female Spectator uses the fiction of an editorial board, in this case comprised of female characters who represent various ideal models of femininity: the experienced but respectable spinster, the Female Spectator, who functions as the periodical's primary voice; the witty, young, devoted wife Mira; an unnamed "Widow of Quality"; and the charming, accomplished Euphrosine.1 The Female Spectator was a monthly publication, issued in 24 parts between April 1744 and May 1746, and was [End Page 87] popular enough to be sold as a bound volume of multiple issues as early as 1748, while single issues of the periodical were still being distributed.2 Patrick Spedding has concluded that The Female Spectator was Haywood's single best-selling publication of her career, earning her about 60 guineas per year.3 Moreover, as Lynn Marie Wright and Donald J. Newman note, "The fact that [The Female Spectator] lasted two years when many other periodicals lasted only a few weeks or months argues that Haywood had a wide and loyal readership. We know she had audiences in Germany, France, Italy, and as far away as America."4 A number of Haywood's later periodical publications, including The Parrot (1746) and Epistles to the Ladies (1749), were written "by the authors of The Female Spectator," indicating commercial interest in capitalizing on her success. Several of Haywood's other publications even used characters from The Female Spectator: Mira was the narrative persona in The Wife (1746), as was Euphrosine in The Young Lady (1756). Haywood also recycled these characters for use in Epistles for the Ladies. While critics have been divided on the subject of Haywood's intended audience, I agree with the assessment that, whatever her actual audience demographics may have been, her intended readership was largely female.5 This is not to say that Haywood expected an exclusively female audience; on the contrary, several of the correspondents were male (including Philo-Naturae, who is the primary scientific interlocutor of the periodical), and much of the Female Spectator's advice on courtship and marriage was directed at both sexes. However, a repeated tactic throughout the periodical relies upon the flexibility of a female intellectual voice that acts without seeming to disrupt male intellectual authority in order to relay a substantive critique, often of that male authority. Haywood (as the Female Spectator) writes: If therefore I have directed my Advice in a peculiar Manner to those of my own Sex, it proceeded from two Reasons, First, because, as I am a Woman, I am more interested in their Happiness…secondly, I had not a sufficient Idea of my own Capacity, to imagine, that any Thing offered by a Female Censor would have so much Weight with the Men as is requisite to make that Change in their Conduct and Oeconomy, which, I cannot help but acknowledge, a great many of them stand...

Haywood's Old-Age Rewritings of Love in Excess

Haywood's Old-Age Rewritings of Love in Excess Kathryn R. King My subject is Haywood's old-age revisions of Love in Excess (1719). Haywood's debut novel needs no introduction: Love in Excess is indispensable, a must-read for everything from the history of women's storytelling to the study of rape culture across the centuries. But old age? Haywood? This conjoining of terms is a provocation, of course, meant to raise questions about why literary history has shown itself little disposed to grant Hay-wood an old age. When she died in February 1756, she was sixty-three or thereabouts and could rightfully be ranked "among the Number of the Aged," to adopt the language of one of her epistolists.1 Old age in the eighteenth century was thought to begin somewhere between fifty and sixty, earlier if menopause is used to mark the transition, and a woman sadly in want of a husband could expect to attain the title of old maid earlier still. But scholars generally agree to accept sixty as "a particularly strong and common marker for entry into old age."2 In the terms of her culture, then, Haywood wrote into her old age—not that you would know it from the usual accounts of her life and work, which seem fixated upon the youthful Haywood of Love in Excess and other tales of adolescent passion. This youthful bias has impaired our ability to recognize the mature creativity of the work she produced in roughly the final decade of her life: Female Spectator (1744–46), Epistles for the Ladies (1748–50), History of Miss Betsy Thoughtless (1751), History of Jemmy and Jenny Jessemy (1753), The Invisible Spy (1755), to name some of the best known. Old age, ripened maturity, a seasoned sensibility: phrases such as these sound odd uttered in the vicinity of the name of Haywood, and that oddness speaks to a failure to imagine the end of her career as the culmination of a lifetime of achievement. Devoney Looser has observed that the conventions of literary history make it difficult to see "all [End Page 125] but the most visible (traditionally, male and canonical) writers across their entire careers."3 Her insight applies with particular force to women writers in the eighteenth century. Their careers are often read through the lens of their opening—think of the all-night tavern-party celebrating the launch of Charlotte Lennox's The Female Quixote (1752), for example, or the delight early feminist critics took in the high-spirited verse of the young Elizabeth Singer, whose evolution into the more somber Mrs. Rowe was long resisted. Accounts of Haywood belong to this pattern. For many students of the period, early Hay-wood is Haywood. The story is familiar: a would-be actress scores a sensational success with Love in Excess and goes on to thrill readers with amatory novellas featuring scenes of full-bodied sensuous experience—tales of "Youth and Inadvertence," in one of her favorite phrases—and eventually draws the wrath of Alexander Pope, all before hitting her mid-thirties. Judging from anthologies and syllabi, it is early Haywood who continues to captivate, Fantomina (1725) especially. Fantomina is a young person's fantasy, a teenaged wonder of learning-by-doing who finds in the playhouse and in a raft of disguises scope for unimagined freedoms from family restraint and genteel propriety. Fantomina embodies what many feel to be essential Haywood: her vitality, brilliance, and audacity. My aim is to direct attention toward the vitality, brilliance, and audacity of Haywood in her elder years. To be sure, some works from the late period are already regarded as among her best—Female Spectator and Betsy Thoughtless are up there on anyone's list, and Invisible Spy is gaining a following—but a kind of embarrassment still seeps at times into accounts of the so-called second half of Haywood's career. Until challenged by Paula Backscheider, the "Story" was the story of a career split by one or another "conversion."4 It was said of Haywood—and we dislike the word—that she reformed. In the sentimentalized version of the conversion story delivered by Clara Reeve...

Introduction: Special Issue on Eliza Haywood

Introduction:Special Issue on Eliza Haywood Manushag N. Powell The inspiration for this special issue was a remarkably joyous academic experience. Just over one year ago, on 5-6 April 2019, 40 international scholars gathered in Indianapolis, inside a hotel that had once been Union Station—atop which some trains still ran, punctuating the keynote lecture with particular oomph—to exchange their work on Eliza Fowler Haywood in recognition of the 300th anniversary of the work of amorous prose fiction that launched her career. Supported in part by Purdue University as well as Restoration, 300 Years of Love in Excess crackled with excitement and collegiality; the essays in this issue were in some form presented there or inspired by the conference project. 300 Years was notable, too, for the presenters' range of backgrounds and career stages. Many author societies today struggle to attract young members, but Haywood inspires them; this was a multigenerational gathering full of mentorship, anchored by the deep work of scholars who have spent decades with Haywood, and the bracing, cutting-edge ventures of early career researchers who, like all new authors, often see farther than the rest of us. The final compilation of this issue, however, happened under circumstances almost entirely the opposite of those I have described. Revisions and edits have been done under lonely conditions; we labor during shelter-in-place orders, away from our offices, our archives, our students. An author as prolific as Haywood produced a text for every circumstance, but this is perhaps especially so for the present long moment, as Haywood's characters are often quite familiar with the constraint of being trapped; easy freedom of movement was not very available to many eighteenth-century women. Perhaps one perfect kindred soul calls to us from The British Recluse, or, the Secret History of Cleomira, Suppos'd Dead: A Novel (1722). Explaining how she came to be so amorously susceptible [End Page 3] while under strict orders that she abstain from an active social life, Cleomira confesses that "this sudden Change from all the Liberties in the World, to the most strict Confinement, is all the Excuse I can make for my ill Conduct." Originally forced into social distancing, Cleomira comes, much later, to prefer its safety, particularly when she is able to share it with an intimate female friend. Haywood may be a great many things, but she is never naïve: not about the consolations of solitude, or much anything else, really. The final words of the text taunt us with an important distinction: "where a solitary Life is the Effect of Choice, it certainly yields more solid Comfort than all the publick Diversions which those who are the greatest Pursuers of them can find." (Of course, Cleomira's problem isn't a virus, but rather gendered predations attendant on patriarchy; Haywood's women flee to the countryside not to escape the biological kind of plague witnessed by Daniel Defoe's H.F., but to elude ruinous passion and gossip.) Cleomira's claim that retreat from society can be delightful when undertaken voluntarily and temporarily may have been a conviction of Haywood's. Decades later, in the thirteenth of Haywood's Epistles to the Ladies (1749), Mira—the wise matron of the Female Spectator gang—writes that she prefers winter in the countryside rather than the fashionable London season, for although "The Country is almost as desolate of Inhabitants as the Trees in my Forest are of Leaves.—All my Acquaintance in these Parts have left me, for what they call Delights more agreeable to the Season; yet I am still here,—and what seems most strange to you, am here by my own Choice." Mira, somewhat atypically for Haywood's writing, is a confident woman in a happy marriage who enjoys her investment in the education of her healthy children. Elsewhere, as Kathryn King argues in this issue, Haywood's Epistles are strongly conscious of loss, of the death of family and how to cope, and even to some extent the strange unknowability of the universe. All of these are themes suitable, of course, not only to pandemic writing, but (we contend) Restoration's scholarship. While Eliza...

State Control and the Online Contestation of Iranian Female Spectators and Activists

Drawing on feminist cultural studies, this article critically analyzes the interrelationship between state ideology and gender policies in the sporting domain with a particular focus on the prolonged interdiction of Iranian female spectators from stadiums. Data were collected from online social spaces such as Twitter, Facebook, and Instagram. The findings suggest that in the absence of free and democratic public spaces for negotiation of their rights, Iranian women have increasingly used social media and online campaigns as enabling platforms to partake in a communication discourse, raise awareness, practice democracy, mobilize masses, and protest against social injustice.

시선의 권력, 그리고 여성관객

실사영화나 애니메이션과 같은 영상 매체에서 직접적이고 물리적인 폭력의 대상으로 여성을 표현하는 경우는 특정 장르에 제한하여 나타난다. 그렇지만 시각 이미지의 세계에서 폭력성의 문제는 매우 광범위하며 대부분 교묘하게 은폐되어 있다. 이는 시선의 주체이자 관찰자의 역할을 남성으로 상정하고 대상화된 여성을 분리하여 놓는 것으로부터 시작한다. 여기에는 여성과 남성, 대상과 주체라는 견고한 이분법이 작동하는데 주체의 시선과 대상의 응시, 순환되는 시선의 얽힘과 대타자의 개념으로도 해소되지 않는 유형의 권력이 존재함을 의미한다. 시선의 권력은 대상에 가해지는 교묘한 폭력 개념을 포함하므로 주목하여야 한다. 시대의 흐름에 따라 생물학적 성과 사회적으로 구성된 젠더가 반드시 일치하지 않음은 상식이 되어가고 있다. 그렇지만 실제 인간 사회의 구조적 문제에 얽혀 혼돈과 갈등은 심화되고 있다. 남성 중심의 시선을 논함에 있어 관음증과 거세공포, 그리고 또 다른 왜곡인 절시증과 숭배는 젠더 이슈의 핵심이지만 현실 인간의 문제를 떼어내어 바라보는 것은 쉽지 않다. 본 연구는 현실 세계의 생물학적 성 구분에 따른 갈등구조를 직접적으로 해결하기 위한 시도가 아님을 분명히 한다. 또한 분열적이고 유동적인 여성관객의 정체성을 영화매체 자체의 구조적 특성에서 비롯된 것이며 보다 진전된 논의가 필요하다고 보았다. 이러한 문제는 다수의 영상 매체에서 대안으로 제시하는 것처럼 주체와 대상의 자리에 놓인 남성과 여성을 단순히 교체하는 것만으로는 해결할 수 없다. 이를 위해 본 연구에서는 매체기술의 발전이 가져온 비선형적 진행이 전통적 감상 방식을 흔드는 요인이 되어 서사의 지연과 사색하는 관객이 등장함으로써 매체의 변화를 가져온다는 로라 멀비(Laura Mulvey)의 개념을 공유하고 있다.

The Chinese female spectatorship: a study of the network community of the “boys’ love” movie “Call Me by Your Name”

ABSTRACT Through text analysis of the user-generated content in the Douban community, a popular online platform in China, this paper intends to analyze the ways Chinese women watch and interpret a Western “boys’ love” movie “Call Me by Your Name.” The findings indicate that women engage in active spectatorship, including the gaze of body, the viewing of plot and the perception of emotion based on the female identity. Women’s gaze at male image favors the romantic temperament and transforms it into heterosexual fantasy by substituting the male character. At the same time, the female audience can understand and accept homosexuality while retaining their own heterosexual identity. Finally, they praise and adore the romantic love story in the movie.

On Being Fashionably Incorrect: Woman’s Film, Fashion, and Stella Dallas

Despite the Wall Street crash of 1929 and the Great Depression that followed, the decade of the 1930s in America was an unprecedentedly productive time for Hollywood, and the woman’s film, which depicts the life of an adult female protagonist and is designed to appeal mostly to female spectators, was one of the flourishing genres that survived the Great Depression. While scholars have viewed classical Hollywood cinema as an ideological apparatus, representing dominant ways of seeing the world and reinforcing hegemonic views, this essay proposes Hollywood films as a version of modernism that is not exclusive, arcane, and anti-modern, but inclusive, mass-produced, and highly susceptible to the experience of modernity. Drawing on Miriam Hansen’s notion of vernacular modernism marked by texts’ susceptibility to reflect and confront the constitutive ambivalence of modernity, this essay focuses on the woman’s film and fashion in tandem and examines how in the woman’s film fashion is represented through the female protagonists’ costumes and circulated in the form of a discourse. This essay argues that the woman’s film of the 1930s tends to associate the heroine’s experiences of modernity involving fashion and glamour with the themes of class rise and acquiring manners, and that in case of maternal melodrama, as manifested in King Vidor’s 1937 film Stella Dallas, the pattern is inverted. That is, the heroine’s sartorial practices do not necessarily lead to her class rise, but bespeaks her subversive individuality immune from ideological views on fashion.

The female football spectator in England, 1870–1914: a Flaneuse made visible?

ABSTRACTFlanerie has recently undergone a conceptual expansion to include other observations of modernity, incorporating the flaneuse, a female equivalent in late nineteenth/early twentieth century cities. This scholarship makes a convincing case that public (masculine) spaces and domestic (feminine) spaces were not so mutually exclusive as to preclude a female presence within cities. A flaneuse could (within certain limitations) experience the city, producing observations based on this. Previous work related to flanerie has mainly concentrated on ‘high’ culture, including art criticism and literary production. This paper links the flaneuse to female football spectators at male professional football matches in England from c1800–1914, an expansion of the concept into popular culture, connected to other instances manifested in music halls and department store shopping. It also relates the journalistic observations of female football spectators and reporters as flaneuses, a form of literary production, which contrasts with the literature of ‘high’ culture previously analysed.

ARE OUR STADIUMS READY FOR EURO 2024? EVALUATION OF SERVICE QUALITY

For sports enterprisers, providing quality service to sports consumers, such as football supporters helps to achieve the kind of participation in and consumption of important sports events that these businesses want. As a result, it is important that the quality of the service offered is known by both sports marketers and service providers. The aim of the research was to compare the perceptions of service quality of spectators who watched the 2014-2015 football season in an old stadium and the perceptions of service quality of spectators who watched 2016-2017 season in the new stadium, and to determine what needs to be done in order to make the level of service at the new stadium the best possible. The population of the research included the spectators following the Eskisehirspor competitions in the 2014-2015 and 2016-2017 football seasons. A total of 888 (715 male; 173 female) spectators were selected from within the determined population by the convenience sampling method. The “Scale of Event Quality for Spectator Sports” was used as data collection tool in the research. When the data obtained from the study were examined, it was determined that the spectators in new stadium gave a higher average score than the spectators in the old stadium in terms of the dimensions in which difference occurred. As a conclusion , the improvement in the event quality was not at the expected level and the event quality required by the spectators in the new stadium was not at the highest level. Article visualizations:

Mapping Mammy 2.0: Insecure and the Middle-Class Black Woman's Burden

ABSTRACTThis article engages in an oppositional reading of the current HBO series Insecure to determine whether the emergence of Black women as creators and executive producers of dominant, cultural productions disrupts representations of Black women who historically have been portrayed as exotic primitives. Black feminist thought, specifically bell hook's critical Black female spectatorship, is the theoretical framework used to examine the series' portrayal of the dynamic between the middle-class character Molly and her co-worker Rasheeda. The textual analysis shows that Insecure imitates classic, Hollywood filmic practices such as constructing a cinematic binary in which White signifies middle-class civility and Black represents underclass dysfunction. Further, Insecure recreates a White savior narrative using Black women actors, producing a middle-class, Black woman's burden. In the end, Insecure reproduces racist-sexist and classist ideologies that legitimate Black women's oppression, although a Black woman oversees creative processes.

Screening femininity and Amazighness in Narjiss Nejjar's Dry Eyes

ABSTRACTThis article aims to cast light on one of Moroccan women's cinematic voices: Narjiss Nejjar. Thanks to her growing filmography, she is nowadays considered a promising member of women's film community in the country. Her debut feature film Al-Oyoun Al-Jaffa (Les Yeux Secs/Dry Eyes, Morocco and France, 2003) has been widely acclaimed. I argue that this work negotiates female spectatorship through two main strategies. First, it represents Amazigh (Berber) women as full-fledged citizens away from any process of eroticisation or fragmentation. Second, it pushes the spectators, male and female, to identify with the female characters through this counteractive strategy of representation. To identify with them, one has to identify with their journeys of becoming. The film will be closely investigated from a postcolonial vision, and read against the backdrop of political and social changes that have been animating the contemporary Moroccan society in the recent decades.

Melodrama and Soap Opera

Research Article| April 01 2018 Melodrama and Soap Opera Elana Levine Elana Levine Elana Levine is a professor in the Department of Journalism, Advertising, and Media Studies at the University of Wisconsin-Milwaukee. She is the author of Wallowing in Sex: The New Sexual Culture of 1970s American Television (Duke University Press, 2007), coauthor of Legitimating Television: Media Convergence and Cultural Status (Routledge, 2012), editor of Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century (University of Illinois Press, 2015), and coeditor of Undead TV: Essays on Buffy the Vampire Slayer (Duke University Press, 2007). Her next book, Her Stories: Daytime Soap Opera and US Television History, is under contract with Duke University Press. Search for other works by this author on: This Site PubMed Google Scholar Feminist Media Histories (2018) 4 (2): 117–122. https://doi.org/10.1525/fmh.2018.4.2.117 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Elana Levine; Melodrama and Soap Opera. Feminist Media Histories 1 April 2018; 4 (2): 117–122. doi: https://doi.org/10.1525/fmh.2018.4.2.117 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFeminist Media Histories Search Keywords: female spectator, melodrama, soap opera, television, woman's film Feminist film and television studies shared a crucial period of development in the late 1970s and early 1980s, taking shape into influential fields and helping to establish central questions for media scholarship that would carry through to the twenty-first century. Laura Mulvey's mid-1970s theorization of male spectatorship revolutionized the field, but left many feminist scholars wondering about female spectatorship, specifically the potential for feminized forms of “visual pleasure,” whether in cinema or other media.1 The result was a turn by feminist thinkers toward two objects: melodrama and soap opera. The work generated amid the Western world's second wave of feminism focused on women's engagement with screen cultures, but in so doing explored conceptions of spectatorship and audiencehood, the relationship between textual analysis and contextual inquiry, and the specificity of film and television as narrative forms and sites for the construction of identity.2 The study of film melodrama preceded... You do not currently have access to this content.

EVALUATING AGGRESSION LEVELS OF SPORT SPECTATORS

The aim of this study was to examine the aggressiveness levels of the individuals who are in different sports branches and who define themselves as spectators of those sports according to different parameters. Research group of the study is composed of 696 people who live in Ankara and define themselves as spectators of a sports branch. The aggression scale developed by Buss and Perry (1992) was used in the research. The scale is a 5-point Likert-type scale consisting of 29 items. The normal distribution of the data was examined by Skewness (.417) and Kurtosis (.576) tests and normal distribution of the data was determined. In this context, in the analysis of the data, the independent t-test and One Way Anova test were used as parametric tests. Also, the reliability of the data was determined by Cronbach Alpha internal consistency .822. As a result, a rate of aggression of sports spectators has been found in the middle and higher levels. The highest level of aggression sports spectators were found in combat sports and football branches. In addition, the aggressiveness levels of male spectators are higher than those of female spectators. Also, the highest level Sub-Dimension of sports spectators were found in physical aggression Sub-Dimension. Article visualizations:

Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship

-Kracauer, The Little Salesgirls Go to the Movies (1927)' In the context of discussions on cinematic spectatorship, the case of Rudolph Valentino demands attention, on historical as well as theoretical grounds. For the first time in film history, women spectators were perceived as a socially and economically significant group; female spectatorship was recognized as a mass phenomenon; and the films were explicitly addressed to a female spectator, regardless of the actual composition of the audience. As Hollywood manufactured the Valentino legend, promoting the fusion of real life and screen persona that makes a star, Valentino's female admirers in effect became part of that legend. Never before was the discourse on fan behavior so strongly marked by the terms of sexual difference, and never again was spectatorship so explicitly linked to the discourse on female desire. This conjunction was to inform Valentinian mythology for decades to come-as the following cover prose from various biographies illustrates: Lean, hot-eyed and Latin, Valentino was every woman's dream....

‘Male Gaze’ in Malayalam Cinema: a reading of K.G. George's ‘Adaminte Variyellu’

The theory of male gaze was first introduced by British film maker, scholar and theorist, Laura Mulvey in her 1975 essay ‘Visual Pleasure and Narrative Cinema.’1 According to Mulvey, cinema reflects the oblivion of patriarchal society and reinforces the notion that women are the subject of heterosexual male control and desire.2 Mulvey states that most of the popular Hollywood films respond to number of pleasures offered by cinema, particularly known as scopophilia. This process of gaining pleasure by taking people as objects and subjecting them to a domineering gaze is gendered and eventually establishes women as objects of scopophilia and men as bearers of the look. The function of the cinema, according to Laura Mulvey, is to serve as a voyeuristic medium that encourages the audience to take pleasure from looking upon. Many Hollywood movies, especially the ones of Hitchcock and Stemberg were widely studied on the basis of this version of psychoanalytic theory. The purpose of this paper is to analyse the Malayalam movie, ‘Adaminte Variyellu (Adam's Rib) directed by the veteran film maker, K.G.George in the light of Laura Mulvey's essay. Adaminte Variyellu, the 1983 movie, talks about the travails of three women from different socio-economic sections of the society. Content analysis was used to determine whether Mulvey's argument of ‘male gaze and female spectatorship’ was applicable to Malayalam films of the 80’s. This papertakes as its starting-point the way a Malayalam movie reflects, reveals and works on the socially established notions of sexual difference which apparently controls images, erotic ways of looking and spectacle.

„Ich gehe täglich in die Sitzungen und kann die Politik nicht lassen“

Abstract The article deals with the role of women as spectators in the German National Assembly in 1848 / 49. Although the representatives allowed the participation of the women and even established a women’s gallery, their role as spectators was hotly debated among the public. On the one hand, their admission underscored the Assembly’s claim to speak for all German people. On the other, people wanted to prevent a transgression of traditional gender roles, which conceived of politics as a male concern. Thus, many observers of the National Assembly described the female spectators as unpolitical and superficial. Additionally, satire caricatured female interest in the parliamentary debates. The article shows that the revolution opened up space for new gender roles while at the same time enforcing new limits on them.

P for PROJECTION

Abstract This text laces the parenthetical comments from an essay on female spectatorship by a key figure in feminist film studies - Mary Ann Doane - taken from a 1982 issues double issue of SCREEN Magazine on ‘Sex & Spectatorship’ with Austrian artist Valie Export’s narrative of her 1969 performance work, Genital Panic.

CINEMAGOING AS A HETEROGENEOUS AND MULTIDIMENSIONAL STRATEGY: NARRATIVES OF WOMAN SPECTATORS

Even though cinema studies, usually focusing on films, the audience has been attracted to the attention of researchers since the beginning of these studies. However, in recent years the number of studies on the audience has been increasing steadily. While early cinema studies has focused on the influence of films on the audience, the experience of cinemagoing has recently become a focus. This article is based on oral history interviews conducted in Istanbul, Ankara, Antalya and Kocaeli within the scope of the TUBITAK Project entitled Cinemagoing as a Cultural and Social Practice. In the article, through the fifty interviews with female spectators who went to cinema in Turkey in the 1960s and '70s, dynamics that played a role in the women's experience of cinemagoing and the narration styles of the experience of cinemagoing were analyzed thematically and discursively. The narratives of women spectators and their analyzes emphasize that women's understanding of cinema is heterogeneous and multidimensional and have shown that marriage is a significant threshold for women's experience in cinemagoing and is used as a strategy act of going to cinema against the reality of everyday life.

A study for female spectator of Professional Baseball

A study for female spectator of Professional Baseball