In “Visual Pleasure and Narrative Cinema” Laura Mulvey writes “the determining male gaze projects its phantasy on to the female figure which is styled accordingly” (299).
Most of the time advertisements, commercials, TV shows and movies are shot from the male gaze, meaning the perspective of the camera—everything from its angle to what it sees and the things it focuses on—are from a dominantly male perspective.
I think this directly relates to Meredith LeVande’s presentation on “Women, Pop Music and Pornography,” particularly the relationship between consumerism and patriarchy. Heidi Hartmann writes in “The Unhappy Marriage of Marxism and Feminism: Towards a More Progressive Union” that “we can usually define patriarchy as a set of social relations between men, which have a material base, and which, though hierarchical, establish or create interdependence and solidarity among men that enable them to dominate women” (358).
This is so obviously true of the communications industry which produces and airs everything from cell phone commercials where Beyonce seductively asks viewers to “let me upgrade you” to porn starring barely legal blondes. Mega mergers have created a near monopoly on the market and it’s probably safe to assume those pushing such mergers were men who sit comfortably at the very top of the patriarchal structure. And, they have benefitted in everyway from these mergers, too; they’ve cornered the market and are living in opulent wealth, probably ordering porn from HBO in penthouse hotel suites as I write.
I did take away some new knowledge from LeVande’s presentation. But, I also have a critique to offer. What LeVande had to say ties nicely into the readings we’ve done on race, from “Chicana Feminism,” written by Anna NietoGomez to “A Black Feminist Statement,” written by the Combahee River Collective and “Age, Race, Class and Sex: Women Redefining Difference,” by Audre Lorde.
The women writers of the Combahee River Collective have it right when they say “the major systems of oppression are interlocking” (312). LeVande had it wrong. While she spoke out against the male gaze, she spoke from a very white perspective—a “caucasian gaze”—if you will. Quite frankly I was uncomfortable with the way she didn’t incorporate images of minority women throughout her talk but rather gave them their own section sandwiched between points about white women. While I respect that women of color often reject the typical definition of feminism—for obvious reasons—I don’t think it’s a white woman’s place to isolate these women or to ignore the interlocking systems of oppression that further oppress women of color.
Audre Lorde writes “…it is the responsibility of the oppressed to teach the oppressors their mistakes” (338). But this statement shouldn’t be taken to mean that the oppressors have no responsibility in consciously avoiding making mistakes or being open to learning from those they oppress. It seems to me that LeVande—as some one who has studied feminist theory (presumably)—would have a better grasp on this concept. Apparently she needs a refresher course in interlocking systems of oppression and the responsibility all women have to one another to avoid the pitfalls of such systems.
Oh, one more point...LeVande is a children's singer/songwriter who decided to leave the adult music industry after feeling pressured to fit into a semi-pornographic image to further her career. To me this just seems like false empowerment, a sort of fake agency. Which is worse: fitting a hypersexualized image or a mothering/infantile one? Don't get me wrong...what she's doing is great; kids need positive role models. But, is it really the best way to react to the increasing pressure women performers feel to fit a certain image in order to be successful? I don't think so...I think LeVande copped out and she needs to face the music. Here's her latest music video:
About Me
- Lydia
- Environmental Studies/Women's Studies student at Allegheny College. Feminist. Closeted idealist. Founding President of E.I. chapter of Delta Delta Delta women's fraternity. On any given day I'll either be wearing patchouli or Chanel No.5. Both are signature. I like rap and folk music. I'm self conscious and yet uninhibited. Moderation is not my strong point. I think beauty is a thousand different things, all at once. I've been around the world, and I'll travel again someday. But, for right now I'm just right here. Upcoming adventure: navigating post-grad life.
Hi Lydia,
ReplyDeleteI just came across your critique of my lecture and would like to take the opportunity to respond to your claims. I sincerely appreciate your analysis of my presentation. It’s interesting because during the question and answer session at Allegheny, someone asked me why I “sectioned” off women of color. I’m wondering if this was you, or if a discussion occurred afterwards. As I stated then, I’m given one hour to present a colossal topic.
As feminists who can agree to disagree, I’m going to say something which is fascinating: it’s your appropriation of the white male gaze that blinded you from seeing the many women of color that are woven in throughout the entirety of my presentation. From the very first couple of slides, I include pictures of Jennifer Lopez, Janet Jackson, Mary J. Blige, and Beyonce, whom I show quite extensively. Moreover, the slide that I show of an On Demand porn offering is for “Bootylucious,” the adult film featuring “hot mamas backing it up.” Thus, right from the start of my presentation, women of color are at the forefront.
Interlocking systems of oppression have often rendered women of color invisible. Arguably, it is your eye that is conditioned to see white women more sharply- rendering women of color invisible. Simply stated, women of color are quite present in my lecture, but you failed to notice them in the presence of white women. Perhaps what did strike you, as it should, is my section titled, Young Pop Stars and Kiddie Porn. In this section women of color are conspicuously absent. This is because women of color are rarely portrayed as objects of purity which is the centerpiece of this section. Rather, women of color are often depicted as hyper-sexed from the onset of their careers.
Interestingly, when I gave this lecture yesterday, one of the first comments following it was how much presence and emphasis I particularly give to black women. I don’t give women of color their own little “neighborhood” in my lecture. They are an integral part of the discussion, not a peripheral, token afterthought.
Audre Lorde is a beloved favorite of mine. Her essay on the “erotic” had a profound influence on my life. I recommend you read it if you haven’t already. Her essay helped me redefine how I interpret the divine. For me, it is a deeply spiritual place, one that I have had the profound experience of feeling as a musician. As of late, I’m fortunate to come into contact with this “power” when I can be in the moment of young children and their families coming together as a cultural whole to be part of a unified musical experience.
So, I didn’t cop out into children’s music; I branched out. As a child, when I witnessed someone sing and play the guitar, it was a form of magic, of the power that Audre Lorde inspires in us. When I can lead children into this place, it is truly a divine experience. While I still am recording another “adult” record, as a mainstream singer/songwriter, I started to lose contact with this magic. It is in children’s music that I started to reclaim it. I do, however, think your analysis is interesting. You seem to be suggesting that women in the music industry have to express themselves through the virgin/whore dichotomy. I like your thinking here. But, I’m not in the music industry. I run my own business on my own terms. So, what you termed as my “latest” video is the only video I’ve ever made. I’d love to hear what you think is so maternal about it. I can tell you have a knack for writing- a rare quality amongst many college students today. I encourage you to cultivate it.
I’m not just a feminist who critiques on media; I’m a feminist who actually produces it. We are few and far between. Perhaps you need a refresher course on sisterhood.