Representation of Women in the Film Great Expectations (1998) by Alfonso Cuarón

Research Paper (undergraduate) from the year 2014 in the subject Gender Studies grade: B Université Toulouse II - Le Mirail (English Department) course: Master in English Studies and British Cinema Studies. language: English abstract: Laura Mulvey states in her work 'Visual Pleasure and Narrative Cinema' that ' in a world ordered by sexual imbalance pleasure in looking has been split between active/male and passive/ female.' She implies that women are displayed as sexual objects for the men's gaze and she calls this concept to-be-looked-at-ness. From the above several shots we may consider that to be -look -at -ness concept is at present. Estella displays herself for Finn's gaze but she is not passive. She enjoys her power over him and uses her sexuality to hold his look and disturb him. He has become like a toy for her. On the other hand Annette Kuhl suggests in chapter one of her work under the name 'The Power of Image: Essays on Representation and Sexuality' that 'It is now a commonplace that the transformation of the unclothed woman from being naked to being nude(one of the major 'achievennts' of the european high traditions) also bring aboutin all forms of representations the transformatin of women into objects the site of stuctures both of exchange and of looking. The spectator is the buyer the buyer is the spectator. To posses a woman's sexuality is however mass-produced the image also in the same way to posses to maintain a degree of control over woman in general' . Even though at first sight we tend to underestimate Finn and to think of him as a victim of the cold Estella we realize that he by drawing her naked transforms her into an object of men's gaze as the above citation suggests. Thus he maintains certain control over her. By exposing her paintings later in the film in a galary he in a way confirms to the public he posses her. Merrie Johnson argues that narrative cinema produces a masculinization of the female specta