Imagens do prazer em Uma janela para o Amor e Maurice
According to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying fem...
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| Format: | Article |
| Language: | English |
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Universidade Federal do Ceará
2016-07-01
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| Series: | Entrepalavras: Revista de Linguística do Departamento de Letras Vernáculas da Universidade Federal do Ceará |
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| Online Access: | http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566 |
| _version_ | 1811305240705630208 |
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| author | José Ailson Lemos de Souza |
| author_facet | José Ailson Lemos de Souza |
| author_sort | José Ailson Lemos de Souza |
| collection | DOAJ |
| description | According to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying female looks and homoerotic images. In this work I analyze images centered on man’s figure or that of romantic love from female and gay perspectives in A Room with a View (1986) and Maurice (1987), directed by James Ivory. Such films seem to offer an alternative way in order to balance traditional representations in cinema which placed women as object of male desire. By that I mean Ivory’s films incorporate female and gay visual pleasure, whose looks project themselves into conservative spaces, as it is the case of English society in the beginning of 20th century, thus they fulfil an important role for the expression and diversification of desires, identifications, and narratives, challenging oppressive mechanisms and prejudice typical of patriarchal order. Besides some notions taken from Mulvey (1983), I go through Caughie (1997), Higson (2003) and Monk (2011), attempting contextualize important issues on British cinema, and Jost (2004), in order to analyze the construction of point of view in the cinema. |
| first_indexed | 2024-04-13T08:22:58Z |
| format | Article |
| id | doaj.art-f56543e77fd946aebbfc64e56771657b |
| institution | Directory Open Access Journal |
| issn | 0000-0000 2237-6321 |
| language | English |
| last_indexed | 2024-04-13T08:22:58Z |
| publishDate | 2016-07-01 |
| publisher | Universidade Federal do Ceará |
| record_format | Article |
| series | Entrepalavras: Revista de Linguística do Departamento de Letras Vernáculas da Universidade Federal do Ceará |
| spelling | doaj.art-f56543e77fd946aebbfc64e56771657b2022-12-22T02:54:36ZengUniversidade Federal do CearáEntrepalavras: Revista de Linguística do Departamento de Letras Vernáculas da Universidade Federal do Ceará0000-00002237-63212016-07-0153 esp25326810.22168/2237-6321.5.5.3 esp.253-268235Imagens do prazer em Uma janela para o Amor e MauriceJosé Ailson Lemos de Souza0Universidade Federal da BahiaAccording to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying female looks and homoerotic images. In this work I analyze images centered on man’s figure or that of romantic love from female and gay perspectives in A Room with a View (1986) and Maurice (1987), directed by James Ivory. Such films seem to offer an alternative way in order to balance traditional representations in cinema which placed women as object of male desire. By that I mean Ivory’s films incorporate female and gay visual pleasure, whose looks project themselves into conservative spaces, as it is the case of English society in the beginning of 20th century, thus they fulfil an important role for the expression and diversification of desires, identifications, and narratives, challenging oppressive mechanisms and prejudice typical of patriarchal order. Besides some notions taken from Mulvey (1983), I go through Caughie (1997), Higson (2003) and Monk (2011), attempting contextualize important issues on British cinema, and Jost (2004), in order to analyze the construction of point of view in the cinema.http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566Cinema britânicoJames IvoryPrazer visual. |
| spellingShingle | José Ailson Lemos de Souza Imagens do prazer em Uma janela para o Amor e Maurice Entrepalavras: Revista de Linguística do Departamento de Letras Vernáculas da Universidade Federal do Ceará Cinema britânico James Ivory Prazer visual. |
| title | Imagens do prazer em Uma janela para o Amor e Maurice |
| title_full | Imagens do prazer em Uma janela para o Amor e Maurice |
| title_fullStr | Imagens do prazer em Uma janela para o Amor e Maurice |
| title_full_unstemmed | Imagens do prazer em Uma janela para o Amor e Maurice |
| title_short | Imagens do prazer em Uma janela para o Amor e Maurice |
| title_sort | imagens do prazer em uma janela para o amor e maurice |
| topic | Cinema britânico James Ivory Prazer visual. |
| url | http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566 |
| work_keys_str_mv | AT joseailsonlemosdesouza imagensdoprazeremumajanelaparaoamoremaurice |