Building on Lacan's work, scopophilia was used by psychoanalysts of the 1970s to describe pleasures ( often considered pathological ) and other unconscious processes occurring in spectators when they watch films.
12.
Scopophilia is a love of looking, almost voyeurism, rather than fixation on looking at something horrible-and from what i can tell from the German, Schaulust means almost the same.
13.
In his book, " Alfred Hitchcock's Rear Window ", Belton addresses the underlying issues of voyeurism, scopophilia, patriarchy, and feminism that are evident in the film.
14.
One theory holds that while women have several areas to satisfy scopophilia _ the term sometimes used in feminist film criticism that literally means the " love of looking " _ men really have just one, where size matters.
15.
Critical race theorists, such as bell hooks, David Marriott, and Shannon Winnubst, have also taken up scopophilia and the scopic drive as a mechanism to describe racial " other-ing " ( c . f . scopophobia ).
16.
Jacques Lacan subsequently drew on Sartre's theory of the gaze to link scopophilia with the apprehension of the other : " the gaze is this object lost and suddenly refound in the conflagration of shame, by the introduction of the other ".
17.
Lacan privileged scopophilia in his theory of how desire is captured by the imaginary image of the other; other French analysts have emphasised how the discovery of sexual difference in childhood, and the accompanying sense of not knowing subsequently fuels the scopophilic drive.
18.
In his essay from " The Imaginary Signifier ", " Identification, Mirror, " Christian Metz argues that viewing film is only possible through scopophilia ( pleasure from looking, related to voyeurism ), which is best exemplified in silent film.
19.
In June, during a symposium on public art and public space sponsored by New York University's Tisch School of the Arts, a handful of surveillance artists gathered for a daylong meeting on surveillance, voyeurism and scopophilia ( the love of looking ).
20.
In her writing on feminist film theory, Mulvey has argued that, if the dominant cinema produces pleasure through scopophilia which favours the male gaze and festishization of woman as object, then alternative versions of cinema need to construct different forms of pleasure based on psychic relations that adopt a feminist perspective.
