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The problem is that a male –centric society doesn’t perceive beautiful women as full members of a society. Ann Cahill proclaims that beauty is a problem for the feminist theory. The author states that «feminists have often encouraged women to throw off the demands of beauty to gain social and political equality.» The idea of «male gaze» means that people change objects –especially women’s bodies – according to their «masculine» standards. In other words, men tend to perceive the beauty without their inner world (Cahill 42-64). For example, a woman makes herselfs beautiful and the male gazer thinks that her beauty exists only for him and looks like a work of art. As the result, only physical beauty of woman is perceived.
However, many women are satisfied by this approach and they decide to use a beauty and risk to reduce themselves only to the objects of male desire. There is a distinction between a gaze who recognizes a beautiful woman and objectifies lies in perceiving this object as existing solely for a male (Cahill 42-64). Laura Mulvey considers the role of women in society using psychoanalytic theory. Thus, male gaze projects mean that woman is perceived as sexual objects in Hollywood films. They look good and catch the attention of men. Laura Mulvey states that even «the cinema satisfies a primordial wish for pleasurable looking» (Mulvey 163-173). It is important for men to have a beautiful woman who causes the envy of other people because the pride is inherent in all men and cinema is the result of this point of view.
Finally, a woman chooses her role in society by herself. She can be beautiful, but she can attract others and have a wonderful inner world. Women decide how they should behave in society and how men perceive them. In other words, they attract the male by a beauty, but then they can show themselves as interesting people, or just be nice and lovely.
Works Cited
Cahill, Ann. "Feminist Pleasure and Feminist Beautification." Hypatia, Vol. 18, No. 4, Fall/Winter (2003): 42-64.
Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen, Vol. 16, No. 3 (1975): 6-18.
