4. A low angle animation on right is a camera angle that looks up at a
character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and
small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another characters point
of view.
11
c. Lighting
Lighting is one important element in film that is capable to conduct eyes to the most important object in a frame. Lighter and darker areas within the frame
help create overall composition of each shot and thus guide our attention to certain objects and action.
12
Lighting furthers the audience’s understanding of characters, underscores particular actions, develops themes, and established
mood.
13
d. Feminist Film Theory Cinefemists
Issues of representation and spectatorship are central to feminist film theory and criticism.
14
Feminist film theory or cinefeminism is a particular application of poststuctural-feminist approach to culture studies.
15
Early feminist criticism was directed at stereotypes of women, mostly in Hollywood films. Most
of these plays raise question about the expectation that women will become
11
Anonymous, Camera Movement, accessed on August 10 , 2010. http:www.film-overview. htm p. 2.
12
David Bordwell and Kristin Thompson, Film Art: An Introduction, New York: McGraw Hill, Inc, 1993, p.152.
13
Maria Pramaggiore and Tom Wallis, Film: A Critical Introduction, London: Laurence King Publishing Ltd, 2005, p. 77.
14
Anneke Smelik, 1999, op.cit. p.353.
15
Ben Agger, Cultural Studies as Critical Theory, London: The Falmer Press, 1992, p.127.
mothers and the centrality of nurturing and pasificity to idea of feminist.
16
A feminist film focuses on production that are shared by many women, but it also
attends to differences of race, history, class, sexuality, and nation, alongside and as part of theoretical difference feminist theory.
Laura Mulvey in Shaw and Janet Lee identified the “male gaze” male director’s project male fantasies onto female characters which viewers then
internalize as a primary motif for understanding gender in filmmaking. Mulvey argues that feminist movies are essentially made through and for male gaze and
fulfill a voyeuristic desire of men to look women as objects.
17
Feminist film critics focus on the ways in which the male directorial gaze constitutes women as objects
for men and ignores aspects of sexual politics and power transacted between both men and women on the screen and between the film maker and audience off
screen.
18
Cinefeminism differs markedly from liberal feminist studies of the content of filmic images of women, rejecting this approach as overly positivist.
19
It is equally as important to examine ways in which women are signified or
represented. Postructural feminists focus on film because films are significant screen of power. The films are being women as objects by pretending that the
cinematic gaze is somehow value free. The three of the cinematic gaze camera,
16
Claire M. Tylee, et. al. War Plays by women an International Anthology, London: Routledge, 1999 p. 1.
17
Susan M. Shaw and Janet Lee, Women’s Voices, Feminist Vision, Clasic and Contemporary Reading 2
nd
Edition , New York: Mcgraw Hill, 2004, p. 388.
18
Ben Agger 1992, op. cit. p. 127.
19
Ibid
character, and spectator that objectify the female character and make her into spectacle. Male gaze has become shorthand term for the analysis of complex
mechanisms in cinema that involve structures like voyeurism and narcissism. These concepts help to understand how Hollywood cinema is made for male
desire.
C. Narrative Elements
