Abstract

The article questions the becoming of the concept of the “male gaze” theorized by Laura Mulvey, through the study of its reception among French and Francophone thinkers. Written in close dialogue with Freudian psychoanalysis, “Visual Pleasure and Narrative Cinema” (1975) indicates that the ideological stakes of representation go beyond the content of what is shown to reveal how the unshown is inserted between the form and the unconscious. The question that arises is whether there are viable conceptual alternatives to the critique of male gaze, such as the notion of “female gaze.” My hypothesis is that, given certain resistances encountered about the male gaze in critical literature, it is important to question the conditions of the exclusion of the female gaze, both as a concept and as a phenomenon that can be identified within artistic forms. Since Mulvey’s intellectual trajectory was deeply marked by her encounter with French film critics, the article examines more broadly the reception of her theoretical proposals in the French-speaking area.

摘要

本文通过研究法国和法语国家思想家对“男性凝视”概念的接受情况，对劳拉·穆尔维提出的“男性凝视”概念的形成提出了质疑。《视觉快感与叙事电影》（1975）与弗洛伊德精神分析密切对话，表明再现的意识形态风险超越了所展示的内容，揭示了未展示的内容如何插入形式和无意识之间。出现的问题是，是否存在对男性凝视批判的可行的概念替代方案，例如“女性凝视”的概念。我的假设是，考虑到批评文学中男性凝视遇到的某些阻力，质疑排除女性凝视的条件很重要，无论是作为一个概念还是作为一种可以在艺术形式中识别的现象。