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| '''Synopsis: Look at the video / Visual Pleasure and Narrative Cinema'''
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| In this Synopsis I will compare my film: Look at the video with Laura Mulvey's essay: Visual Pleasure and Narrative Cinema.
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| Notes:
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| Woman, stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer of meaning, not maker of meaning.
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| '''Destruction of Pleasure as a Radical Weapon'''
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| The alternative cinema provides a space for a cinema to be born that is radical in both a political and an aesthetic sense and challenges the basic assumptions of the mainstream film. This is not to reject the latter moralistically, but to highlight the ways in which its formal preoccupations reflect the physical obsessions of the society that produced it, and further, to stress that the alternative cinema must start specifically by reacting against these obsessions and assumptions.
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| The magic of the Hollywood style at its best (and of all the cinema that fell within its sphere of influence) arose, not exclusively but in one important aspect, from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order. In the highly developed Hollywood cinema it was only through these codes that the alienated subject, torn in his imaginary memory by a sense of loss, by the terror of potential lack in fantasy, came near to finding a glimpse of satisfaction: through its formal beauty and its play on his own formative obsessions.
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| This essay will discuss the interweaving of that erotic pleasure in film, its meaning, and in particular the central place of the image of woman. '''It is said that analyzing pleasure, or beauty, destroys it.''' That is the intention of this essay. The alternative is the thrill that comes from leaving the past behind without rejecting it, transcending outworn or oppressive forms, or daring to break with normal pleasurable expectations in order to conceive a new language of desire.
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| '''Scopophilia: The obtaining of sexual pleasure by looking at nude bodies, erotic photographs, etc.'''
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| The cinema offers a number of possible pleasures. One is scopophilia. There are circumstances in which looking itself is with a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at.
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| Freud isolated scopophilia as one of the component instincts of sexuality that exists as drives quite independently of the erotogenic zones. At this point he associated scopophilia with taking other people as objects, '''subjecting them to a controlling and curious gaze.'''
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| Although the instinct is modified by other factors, in particular the constitution of the ego, it continues to exist as the erotic basis for pleasure in looking at another person as object. At the extreme, it can become fixated into a perversion, producing obsessive voyeurs and Peeping Toms, whose only sexual satisfaction can come from watching, in an active controlling sense, an objectified other.
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