Bristol New Wave Film

Applying Mulvey's Theory

Transformers (2007)

I decided to use a scene from Steven Spielberg's 2007 film 'Transformers' to apply Mulvey's male gaze theory. I chose this scene because it is a prime example of a director using the camera to fragment Megan Fox's character - Mikaela, as she checks the car; thus sexualising a scene that without the use of male gaze, would not be sexual.

When Mikaela first opens the hood, a mid-shot is used to display her body and figure, it then zooms in, on her waist to emphasize she's wearing a crop top; this also completely cuts off Mikaela's head from the shot, highlighting that the director's aim is to focus the audience's attention on her body and view her as an object. Within the same shot, our protagonist Sam can be seen staring at Mikaela's body, which further demonstrates what the camera wants the audience to be looking at. Women may also be affected by this scene as they might notice that all the attention is focuses on the character's slim figure and flat stomach, and because of this they may believe that this is the ideal body type and as a result will want to achieve this look.

A close-up shot from what seems to be Sam's point of view focuses on Mikaela, again on ther crop top and the skin she is showing. The high-key lighting lighting seems to create a sort of golden highlight her skin, making her almost glow, therefore making her seem more attractive and almost airbrushed. When Mikaela bends over the camera yet again focuses on her body, cutting off her head. She is merely checking the engine, but from the camera, and a heterosexual male's perspective, the position seems alluring and provocative.

Mulvey's Male Gaze Theory

Laura Mulvey's Male Gaze theory states that in an industry dominated by male associates, producers turn the camera into a heterosexual man, in order to appease the audience by sexualising women using camera, lighting, and sound techniques. This is often seen in films and adverts when they use attractive women and use them to turn non-sexual situations into scenarios with a sexual undertone. Despite the male gaze theory majorly being used to appeal to men, it can also be used in an attempt to appeal to women. Through the lens of the camera, women will see effectively what the male looks for in women, and therefore they will take influence on how they act and what they wear based on how they want men to see them. It can affect women in a way that women want to see themselves. A study has shown that 60% of heterosexual women have admitted to regularly being attracted to other women - reinforcing the validity of the male gaze theory. Mulvey's theory was created in 1975 when she made the statement that in order to watch a film, the audience has to be put in the position of a heterosexual male in order to enjoy it fully. It is often presented in the camera movement, the camera often lingers on the body of the female almost in the way a man would look a woman up and down. The shots used are often longer takes and this is done to prolong the pleasure of looking, known in media terms as scopophilia.

Applying Freud's Theory

Fight Club (1999)

In order to apply Freud's theory, I decided to use David Fincher's 1999 film 'Fight Club;. This is because it is a deeply psychological film, revolving around the mind of an unstable man; thus allowing me to conduct a psychoanalysis of the character. 

The protagonist's alter-ego - Tyler Durden, represents the Id within the film. He is irrational and impulsive, and expresses only his primal and physical desires, rather than discuss and contemplate his feelings on a physical and intellectual level, just as the SuperEgo and the Ego do. Tyler focuses on trying to get the narrator to rid himself of his controlling ego traits. This is evident in the car crash scene, in which Tyler is behind the wheel and Edward (The Narrator) is passenger. Tyler is constantly undermining Edward with comments such as "your fucking pathetic" and "just let go", drilling him and threatening to crash until he finally submits, saying: "Fine I wouldn't feel anything good about my life is that what you want to hear?". It is at this point that the id finally has control over the ego, this is evident from the non-diegetic music that begins to play, that is deep and similar to that of a heartbeat; the deep tone of the music, I believe, is representative of how the id personality resides in the depths of the mind. This is also reinforced by the dark, low-key lighting throughout the scene; at one point the light from an oncoming van even produces a shadow on half of Edward's face, signifying the conflict between light and dark - reason and desire. Another scene where the Id triumphs is when Edward rejects and shuts out Marla - the superego of the film. In this particular scene, for one, the Id is physically situated within the basement of the setting, in the depths, thus signifying the repressed urges of the mind and the ID. He is also not apart of the conversation between the Ego and the SuperEgo, the id does not concern itself with the social restraints of the Ego and the Super ego, it is almost a completely separate consciousness. Edward Norton (The Narrator) is the Ego. The Narrator focuses on material things, like how much he can buy from an Ikea catalog - he says himself that his apartment alone is what defines him as a person, while Tyler lives his life with the belief that "the things you own end up owning you". The film’s narrator is not a whole person; he is merely the representation of a person’s ego that, for the duration of the film, lets go of the reigns of control attached to his id.  In the scene with Marla, the Ego is dominated by the id, by submitting to the primal urge of confrontation by essentially commanding the superego. Marla Singer is a representation off the super ego, the aspect of the mind that rivals the id. In this scene she is essentially begging the narrator for an explanation for the mark on his hand, she isn't compassionate or emotional, she simply wants the practical, objective answer to the question. She is not concerned with the subjective, emotional answer (essentially provided by the ID), she wants the facts, the truth. Additionally, Marla (The Super Ego) never listens to Tyler Durden, she is fixated on the Ego (the narrator).