The tension between
scopophilia and deeper forms of interest in cinematic characters is further probed in works such as Michael Haneke's Cache or Florian Henckel von Donnersmarck's Das Leben der Anderen.
Scopophilia is, I suppose, literally erotic, containing as it does juxtapositions of luminous examples of peinture a l'huile with Goldin-composed, supersaturated chromogenic, separated-at-birth photographs.
Thus, for Riggs, Renov's suggestion of rethinking the documentary gaze as constitutively multiform was well founded, as Riggs's cinematic project involves the necessary destabilization of the binary of documentary epistephilia and fictional
scopophilia, for a new understanding of film expression.
In his conflation of
scopophilia and exhibitionism, linked "instincts" that exist somewhat "independently" from erotogenic sexual activity, with cruelty, Freud appears to suggest that these drives hinge on pitilessly attempting to exert dominance over the entire exhibitionistic spectacle.
It is in the department store, and in the possibilities afforded by consumer wanderings, that modernism embraces the assertion of female
scopophilia and women's presence in the public sphere in modernism.
Oh, look at the line of his neck." As a feminist, the technical term for this is "reverse
scopophilia." Women looking.
The woman's face feeds the artist's
scopophilia, "Not as she is, but was when hope shone bright; / Not as she is, but as she fills his dream." The off-rhyme, "dream," aurally foregrounds the consequence of an objectifying male gaze: the model's face, as an image, reduces "queen," "girl," "saint," "angel" (ll.
Laura Mulvey writes, "fetishistic
scopophilia, builds up the physical beauty of the object, transforming it into something fascinating in itself" (42).
tend to represent themselves as "true" to some sort of nature, to universal structures of "Ideal" nature, or to codes that are "wired in" to the visual cortex and to deeply instinctual roots of visual pleasure associated with
scopophilia, voyeurism, and the desire to see without being seen.
The trope of the "travelling gaze" relies on the Foucauldian understanding of
scopophilia as a disciplining and an ordering relationship of power.
