Feminist Film Theory

Feminist Film theory really began in earnest during the late 1960s. Annette Kuhn (1982) points out that feminist theory from this period is difficult to summarise as a coherent whole but is rather a collection of viewpoints. The important development in film feminism was the shifting of the debate away from seeing capitalism as the major problem of inequality. Feminist film critics examined the question of 'feminine identity', Haskell suggested that film reflects society, though ideological and social construction of women who are either to be revered or reviled. Haskell was the leading US feminist during this period. They adopted a sociological and empirical approach intended to expose the misrepresentation of women in the film.

Laura Mulvey was interested in the relationship between screen and spectator. She suggested that cinema operates through its codes and conventions and that the 'point of view' constructed is a male one which sets up women as objects to be 'looked at'. The spectator therefore identifies with the male protagonist. She describes the process of viewing as SCOPOPHILIA- the pleasure in viewing. By the end of classical hollywood films however, this shifting back and fourth will and must be brought to an end and desires for the female suppressed in favour of desire for the male.

Within classical film narrative the following generally takes place:
The male character is established as active and powerful. The story will unfold around him.
The female character is passive and powerless. She is the object of desire for the male character.

In my short film I only have two characters both female however I have not followed the feminist film theory as they are not perceived in a way that is sexualised.