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A Comparison of Modern and Traditional Japanese Women in Yasujiro Ozus FilmsTo what extent does Yasujiro Ozu, as an auteur, use women to represent his own perceptions on Japanese culture?

Cynthia Ho0277-

Film Studies EEMr. Hyde and Mr. ChanMay 2015Word Count for this Draft: 3965Table of ContentsTitle page.1Table of contents..2Abstract....3Introduction.4The Noriko Trilogy......................................................................................................................5Late Spring.4-11Early Summer.......11-18Tokyo Story..19-20The Munekata Sisters: An Obvious Comparison.20-28Conclusion.....28Works Cited..29-30

Abstract The purpose of this essay is to investigate Yasujiro Ozu as an auteur and his treatment of women in his films through the question: To what extent does Yasujiro Ozu, as an auteur, use women to represent his own perceptions on Japanese culture? To discuss this question, the women of Ozus films can be separated into two categories: those who conform to modern values and those who prefer traditional values. The values in question are ultimately Ozus perception of what modernism and traditionalism are. Four films are discussed: three of which are in the Noriko Trilogy, Late Spring, Early Summer, and Tokyo Story. This is a loose trilogy of films that arent direct sequels to each other, but they all feature Setsuko Hara playing a woman called Noriko. It is discussed that through filmic elements, Ozu conveys that Noriko presents a blend of modern and traditional values. His films sympathize with Noriko, and so many of his other films showcase the role of women, which gives the audience an idea of what Ozus own ideal cultural values are. The last film discussed is The Munekata Sisters, in which the dichotomy between traditional and modern values in women is especially clear, as well as the changing role of women in the time period. Through this dichotomy of modern and traditional values, the tone and point of view in his films, it is interpreted that Ozu projects his cultural values on the female characters in his films. It is concluded that through Ozus distinctive style, such as the use of pillow and tatami shots, and deep depth of fields, Ozu communicates how traditional marriage practices oppress women, but he also manages to celebrate womens freedoms.

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IntroductionThe women depicted in Yasujiro Ozus films come from all walks of life, and through their own experiences, have formed their own set of beliefs. The values that these women express are ultimately the auteurs, Yasujiro Ozus, own perceptions of Japanese cultural values. Auteur theory stipulates that the director is responsible for the creative guidance of the film. The manner in which Ozu portrays the women in his films reveal his values as an auteur, such as his distinction between women with modern, more Western beliefs and women who hold onto the traditional beliefs from old Japan, or women with a blend of both. This dichotomy allows for the audience to interpret what Ozus ideal cultural values are. From a gender theory perspective, Ozu is particularly interesting, as his camera seems to be shot from the perspective of a woman. Instead of catering to the male gaze and objectifying women, Ozu sympathizes with the plight of women. By understanding the cultural beliefs, whether modern or traditional, the audience learns more about Ozu as an auteur, as this positive treatment of women is consistent throughout many of his films. To what extent does Yasujiro Ozu, as an auteur, use women to represent his own perceptions on Japanese culture?The Noriko Trilogy (Wood 94)The three films that perhaps invite the most comparison between Ozus perception of liberal and traditional women are what is referred to as the Noriko Trilogy (94). Late Spring, Early Summer and Tokyo Story, though not direct sequels to one another, can be interpreted as a loose trilogy (114). The films feature Setsuko Hara, and in all three films, Haras character is called Noriko. Late Spring, Early Summer and Tokyo Story include commonalities in theme and plot, common factors in which several of Ozus films share. There is the moden garu, or modern girl (Pea) in Western dress and the preoccupation with marriage. The movies showcase a conflict in opinion between modern, Western values and traditional Japanese values. The first of the three films, Late Spring, was released in 1949. The film begins with one of Ozus signature pillow shots, (seen in Figure 1) a type of establishing shot that conveys to the audience the general setting and ambiance of the scene; it is also one of the distinguishing features of Ozus work as an auteur. The shots generally do not have any narrative value, unlike traditional establishing shots. The shots that open the movie depict images of what the audience would associate with traditional Japanese culture (Pea), as seen in Figure 1 with the image of the temple. There are also pillow shots that take place in Kamakura where Ozu himself lived; this goes along with Franois Truffauts viewpoint about auteur theory, that filmmakers should include their own experiences in the films that they shoot. Ozus intent to include such imagery was to show that Japanese traditionalism and liberal Western values brought in by the Occupation could coexist (Bordwell 307). Figure 1: A pillow shot from the beginning of Late Spring.The following scene features a tea ceremony, a traditional event in Japanese culture. Parts of the mise-en-scene of the scene, such as the Western-style purse, look seemingly out of place in such a setting, as seen in Figure 2. Late Spring presents the audience with images of a transitionary period in Japanese culture, such as in their cultural practices and in the family dynamic. In Late Spring, it is the aunt that is the matriarch of the family, and it is her that holds the traditional views on Japanese culture and marriage. Figure 2: Aunt Masa and Noriko engaged in ordinary banter during the tea ceremony. The purse can also be seen.In the film, the camera movement is intertwined with the portrayal of Norikos freedom (Wood 117). An example of this is the first train sequence (seen in Figure 3), a motif in several of Ozus films. The scene opens with a sense liveliness, the upbeat music and the disorienting jump cut-like shots (Figures 4, 5, 6, 7) from inside the train help convey the energy of the scene (117). Through these fast-paced and movement-filled shots, Norikos freedom and her ability to simply be her own person, not just someones wife or daughter, is celebrated. This ties into the idea that it is as if Ozus camera is from the point of view of a woman, which contradicts film gender theorys idea that the camera in a film is typically from the point of view of a man, as it is a womans freedom that is portrayed through camera movement, instead of a woman simply being treated as an object in front of the camera. This makes Ozus films fairly unique in this respect; his treatment of women in his films, not only through his writing of his characters, but also how characters are seen through the camera, is also considered a defining trait of Ozu as an auteur. Figure 3: The train, a motif in Ozus films.Figure 4: Noriko standing next to her father on the train, first part of the jump cut-like sequence.Figure 5: Noriko sitting next to her father, another shot from the jump cut-like sequence.Figure 6: Noriko standing alone, a shot from the jump cut sequence.Figure 7: Professor Somiya sitting alone, a shot from the jump cut sequence. The tracking shots featured in the bicycle scene of Late Spring are also quite unique in terms of Ozus typically still-camera films. The leading, lateral, and following tracking shots (Figures 8, 9, 10, 11) add to what is considered the apex of Norikos freedom and personal autonomy (118). As the film progresses, Ozu uses fewer camera movements, which can be tied into the idea that the societal pressure of getting married is continuously weighing on Noriko; restricting her freedom, just like how the traditional Japanese marriage headdress would be a physical heaviness on Noriko. In fact, when the marriage is said to be finalized by Aunt Masa and Norikos father, when Masa picks up the purse as a good omen (Figure 11), there is a complete absence of camera movement for the rest of the film. This is symbolic of Norikos new, more restricted life as a wife. Figure 8: A leading tracking shot featuring Noriko.Figure 9: A leading tracking shot featuring Hattori and Noriko.Figure 10: A lateral tracking shot.Figure 11: A following tracking shot.

Figure 12: Aunt Masa picks up the purse, after this scene there is no more camera movement in the film.

The shots that ultimately express the sentiment of losing ones sense of identity are of when Noriko looks at herself in the mirror (Figure 13), as if reflecting on her life before marriage; then the subsequent shot of the empty mirror (Figure 14). The empty mirror signifies that Noriko has disappeared from the narrative, as if she is no longer Noriko, but someone elses wife (119). Ozus intention with this film was to portray traditional arranged marriages as something that restricts and confines a woman, essentially halting a womans development as a person, and is forced to live a mundane and subservient existence to her husband. Figure 13: Noriko in the mirror before her wedding.

Figure 14: During the wedding ceremony, Noriko is no longer reflected in the mirror.

In Late Spring and several other Ozu films, the theme of marriage is present. Ozu uses the theme of marriage to represent the changing attitudes in family dynamics and to women in general. It is because of the prevalent theme of marriage in several of his films that Ozu films often do not pass the Bechdel Test. In order to pass the Bechdel Test, there must be two named women who talk to each other about something other than men in the film. Though there are usually two women who do talk to each other, it is usually about marriage and marriage prospects. It should be said that the Bechdel Test does not take into consideration the context of the films. Ozu uses marriage as a platform to examine the treatment of women, and to visually represent his opinion that womens freedom changes drastically when presented with the notion marriage. Noriko in Late Spring may be considered as a quintessential moden garu [modern girl]. (Pea) In the scene in which Aunt Masa, the woman who strongly believes in traditional marriage practices, and Noriko, the young woman who refuses to get married, the mise-en-scene (as seen in Figure 15) of the actors at two of the ends of the frame, the slight use of depth that Ozu is usually not in the habit of doing in his films, and the clothing that the two women are wearing presents a contrast between the two; this highlights even further their difference in opinion about the role of women and marriage. Figure 15: Old and new presenting a contrast in opinion.Early Summer, released in 1951, focused on similar themes as Late Spring, such as the Japanese preoccupation with marriage and the role of women. One of the opening scenes (seen in Figure 16) in the film demonstrates the different roles women could fulfill in the family setting, with the matriarch of the house doing housework, and Noriko, the sister, wearing Western clothing and preparing to go to work. These first scenes are expository, and the characters are seen to not have a particular agenda of any sort. It was Ozus intent not to overly rely on the plot and action, but to focus more about the character (Richie). Figure 16: The family getting ready in the morning.Noriko in Early Summer, like the Noriko in Late Spring, is unwed, though her family continuously urges her to take a husband. The men in the film generally have a very traditional view on marriage: that it should be arranged, and women should marry in their twenties. Despite this, it should be said that Ozus films seem to be from the point of view of a woman. Ozus films dont seem to cater to the male gaze, instead of objectifying and fetishizing women, he sympathizes with the womens plight. This sympathy can be seen through the use of tatami shots, which are shots typically used in a Japanese home and are low to the ground, as seen in Figure 16. Tatami shots are usually used in the home, and it is in the home in which Japanese women have the most power and control over. The mise en scene of the scene in which Noriko and her friend are talking to the boss at work seen below in Figure 17, suggests that the opinion of the women can at times be pushed to the side, and men often have the last word about womens affairs such as marriage. The boss takes up most the of the frame, whereas Noriko and her friend are to the side.Figure 17: The boss talking to Noriko and her friend, Noriko is out of this frame.Another man in the film, Norikos brother Koichi, also holds a similar view about women and marriage. He expresses irritation at Norikos wish to remain unmarried and wanting to be independent, and he is the one that leads the rest of the family in finding an acceptable suitor for Noriko (Richie); though even in these scenes in which a male places himself in a dominating position, the camera does not employ the male gaze. In the scene (Figure 18) in which Fumiko, Norikos sister-in-law, Koichi and Noriko are all at a restaurant, there is a contrast again between Fumikos and Norikos clothing. The older, married woman wears the traditional kimono, whereas the unmarried woman is wearing Western clothing. The lighting and mise-en-scene also lend a contrast between traditional and modern. The lighting is brighter on Fumikos side, and darker on Norikos side. Ozu commonly lights the scene evenly, so this darker lighting was intended to prove a contrast between Noriko and the other characters in the scene. The placement of the two female actresses facing each other was also meant to provide such a contrast between traditional dress and modern garb. This difference in dress is seen yet again in a scene in which Fumiko and Noriko are enjoying a slice of cake together while discussing marriage; a scene that comes close to passing the Bechdel Test, meeting two out of three criteria. Fumiko, the more traditional of the two wears a kimono, whereas Noriko opts for Western clothing (Figure 19). The scene is set up in a way that renders it very two-dimensional and stage-like, which is common to Ozus style as an auteur. Figure 18: The family at the restaurant.Figure 19: Fumiko and Noriko eating cake.The imagery back in the familys home also tells of gender roles in the family dynamic. At approximately eighteen minutes into the film, there is a montage of family life in Norikos household. In Figure 20, we see the eldest woman in the family preparing tea for the older men in the family. In the same montage, the sister-in-law is in the kitchen doing housework. The older women have to do housework and take care of the home, which conforms to the traditional gender roles. Figure 20: Aunt prepares tea.The topic of marriage seems to extend to more than just family in Early Summer, it is again brought up between Norikos social circles, too. Noriko and her friend Aya both share an unwillingness to get married. Their married friend opposes their view and believes in pursuing tradition. In Figure 21, the composition in the scene is disturbed when the married friend in the kimono gets up in indignation, showing a difference in opinion between the two parties. One of the more distinctive elements in Ozu's work as an auteur is a type of low-angle shot, known as the tatami shot. The woman standing up disturbs the scene in a way, as if the camera should be placed higher to accommodate her, which again, it is as if the camera is a woman, focused on the conflict solely between women (Figure 21). It is also easy to point out in the scene who are the two unmarried women and who is the married woman simply by just looking at the style of dress. In another scene (seen in Figures 22 and 23) with Noriko and her friends, the married women, dressed in traditional clothing (seen in Figure 24), and the unmarried friends, dressed in Western clothing. The placement of the characters, with married and unmarried women sitting on the opposite sides, indicates a divide in certain values and beliefs, with the married women siding with traditionalism, and the unmarried with Western modernism. Figure 21: The two unmarried women teasing the married one.

Figure 22: Married and unmarried women

Figure 23: Further shot of the women.Figure 24: Traditional married womenIn Early Summer, when Noriko finally decides who to marry for herself, it is done without much deliberation with her family. The repercussions of such an action are seen as soon as she delivers the news to her family (Figures 25 to 28). The looks on her familys faces are dimly lighted, suggesting that they are disappointed, and that they believe that Noriko made the wrong choice (Figures 25 and 26). When the shot is then reversed to show her brothers expression (Figure 26), the lighting seems especially dark on his face, indicating a sort of stress, as he was the one that was supposed to ensure that Noriko was going to marry the right man. Her choice to not conform to tradition results in the eventual dissolution of the family. In a sense, her choice in wanting to go to the country reflects an appreciation for traditionalism. Going out into the country meant that Noriko would connect with her roots, and the temptations of modern life dont exist (Richie). This is an issue that Ozu addresses in the film, the keeping Japans cultural integrity during a time in which the countrys culture is sliding away. One of the final shots of the film is Noriko eating alone, a result of her choice in marrying Kenkichi (Figure 29). The shot is framed by several doorways and also uses depth to make Noriko look even smaller, this is done to emphasize her isolation from the rest of the family, all of whom disapprove of her choice and have to move to different areas of Japan because of it. Yet, even with the dissolution of the family, the film ends on a brighter note, with a Japanese marriage procession, and a bride in traditional clothing walking down a country road, which may be Norikos fate as well.

Figure 25: The newsFigure 26: The brother receiving the news.Figure 27: A disappointed aunt

Figure 28: Repercussions in the family, acceptance

Figure 29: Eating aloneTokyo Story, the last of the Noriko trilogy, by far Ozus most well-known oeuvre, surprisingly, does not have to do very much with the recurring theme of marriage. The Noriko in Tokyo Story, very much like the Noriko in Late Spring and Early Summer, has quite traditional values, yet can be still considered a modern girl. She lives independently, with no apparent support from any men in her life, and she expresses a dislike for the idea of remarriage, like the other Norikos. Outside, Noriko from Tokyo Story is a modern girl, but as a shot reverse shot conversation (Figures 30 and 31) with the matriarch of the family proves, appearances can be deceiving. Though the mother is dressed in the traditional kimono and Noriko in Western garb, the conversation between the two highlights an unexpected difference in values. In the conversation, the matriarch of the family insists that Noriko should remarry, although it is her son that died and left Noriko a widow. The two women look straight at the camera to evoke sympathy within the audience, to experience a sense of recovering after the loss of a loved one. The lighting in the scene augments Norikos white clothing, and it is darker when the camera is focused on the mother, who is wearing a dark clothing. Even though Noriko isnt blood-related to the two elders, she takes an active role in their care while they are in Tokyo, which is an expression of a traditional sentiment. Noriko puts her family before work, whereas the other family members use work as an excuse for not wanting to spend time with their parents. In a sense, Noriko embodies traditional Japanese values embracing Western modernization. Figure 30: Noriko reminiscing about her late husband.Figure 31: Norikos mother-in-law enjoying anecdotes about her late son.The Munekata Sisters: An Obvious ComparisonAccording to critics, The Munekata Sisters lacks the subtle incorporation of thematic elements of the typical Ozu film and offers too schematic a division between tradition and modernity (Bordwell 313). The first time the audience sees a female character in the film, Setsuko, she comes in wearing a kimono and it is her instead of her sister who checks on her fathers health, which foreshadows at the traditional values that she holds. Later, Setsukos sister Mariko expresses obvious displeasure at being at the temple and says she would rather be in the city, which establishes which side of the tradition-modernity dichotomy shes part of (Figure 32). Although Mariko can be considered a moden garu, she is not similar to the other modern girls featured in other Ozu films such as Noriko; as she has fully embraced Western values and has the intention of leaving behind her traditional Japanese roots.

Figure 32: Mariko and Setsuko at the temple.

Her sister, on the other hand, holds traditional values such as taking care ones elders to heart. In a scene in which Setsuko is sitting and eating with her father, the depth and the framing suggests closeness between the two characters (Figure 33). The doorframes create a frame within a frame, making it seem like the two characters are sitting closer together. There is also Ozus recurrent characteristic use of depth, or the lack thereof; this can be interpreted as part of Ozus signature as an auteur, which is consistent with Andrew Sarriss Notes on Auteur Theory. The shallowness of the scene also makes it seem as if the two characters are sitting next to each other, instead of diagonally from each other. Setsukos placement in the middle third of the frame establishes her as an authority figure of a sort, like a caretaker, the womans traditional role. Figure 33: Father and daughter eating together.Soon after Setsukos conversation with her father, the two sisters meet in Setsukos bar, and an obvious contrast shot between the two women takes place (Figures 34 and 35). The shot is framed by the two cabinets, giving the shot a narrow field. The actresses are placed in a way that there is the physical separation of the line in the wall, which connotes a difference between the two. The narrowness of such a shot could also connote the small and specific nature of the conflict in Ozus films, which often focus on the troubles, usually concerning love and marriage, of urban, middle class people. Figure 34: Sisters sitting side by side.Figure 35: Sisters doing leisure activities.Another one of these contrast shots is seen around the thirty-minute mark in the film (Figure 36). The two women are dressed as opposites, as they are throughout the film. In the scene, Ozu uses depth in a way that emulates much of Japanese art and theatre; it has almost a two-dimensional quality, very stage-like and shallow. Ozus depth of field is characteristically deep and permeates throughout the scene, as is with his lighting that seems to evenly cover the scene, as if every aspect of the mise-en-scene is equally important. This cinematic element expresses the auteurs attention to detail, which transforms this movie, originally an adaptation of a novel, to bear the unmistakable stamp of Ozus style (Auteur Theory). Because of this, we can see the two sets of door frames and walls clearly that give the scene a frame-within-a-frame. This connotes not only a closeness between the two characters, but a claustrophobic, tense feeling as the two women discuss some of Setsukos husbands shortcomings and suspicions.

Figure 36: Two sisters kneeling on the floor, making a dress.

Later, the audience sees a pillow shot of a traditional-looking house in the suburbs (Figure 37), which the audience assumes is the fathers house. We see Mariko and her father sitting on the porch; the lighting seems to emphasize Marikos white clothing, making her look slightly out of place in such a traditional setting (Figure 38). Figure 37: A traditional-looking house.Figure 38: Mariko sitting next to her father.Around an hour into the film, there is a scene that demonstrates the power structure between man and wife (Figure 39). The use of depth in Figure 39 makes Setsuko look smaller and her husband larger, connoting that although Setsuko is the one who provides for the household, Mimura is the one with actual power between the two of them. Setsuko is also physically smaller than Mimura in the scene, as she is kneeling, which makes her look up to Mimura. The same use of depth to create the illusion of smallness is repeated once again the next time Mimura and Setsuko speak with each other. Figure 39: Setsuko talking to her husband.Meanwhile, at the bar, Mariko claims that to be modern is to not grow despite the years (Ozu, The Munekata Sisters). After a few more words of drunken banter, Setsukos husband Mimura walks into the bar (Figure 40). Throughout the scene in which Mimura is drinking in the bar, the lighting on him is very dark (Figure 41). Mariko, on the other hand, is lit brightly throughout the whole scene, including during a conversation with Mimura (Figure 42). This foreshadows Mimuras unpleasant fate, which figuratively means the turn of events will go very dark for him. On the other hand, the brighter lighting on Mariko suggests an affirmation to her previous statement about modernity; compared to Mimura, she does have a future and will retain her youth and vigor, which is demonstrated when she berates Mimura about the treatment of her sister.

Figure 40: Mimura walks into the bar.

Figure 41: Mimura sits down at a table in the bar.Figure 42: Mariko tells Mimura how badly he treats Setsuko.When the camera is focused on Mimura at home, it is lifted quite high off the ground, deviating from the usual low height of the camera Ozu typically uses when in homes, the tatami shot (Figure 43). This could have been chosen to show Mimuras dominance over Setsuko as her husband. When the scene cuts to Setsuko, she is kneeling, and the depth of the shot makes her look small (Figure 44). The camera is positioned low to the ground, which implies submissiveness and compliance, traits commonly seen in traditional housewives. But when Setsuko starts arguing back at her husband, the camera goes in for a medium close-up and is higher off the floor (Figure 45). Its as if she is trying to combat this power inequality, and asserting herself to Mimuras level. Soon after, Mimura stands to hit Setsuko (Figure 46). The positioning of the actors, a part of the mise-en-scene, is reminiscent of the aforementioned shot-reverse-shot conversation seen in Figures 43 and 44, in which Ozu, as an auteur, communicates his view on power inequity through camera heights and the use of depth; but instead, this same power inequity is depicted through the physical heights of the actors. Mimura is standing, almost leaning over Setsuko, whereas Setsuko is kneeling and her back is arched, to make her seem even smaller. Through these cinematic elements, a power inequality is documented between the couple.Figure 43: Camera centers on Mimura..Figure 44: Setsuko listens to Mimura.Figure 45: Setsuko is upset, and starts to speak out.Figure 46: Mimura hits Setsuko.ConclusionThrough cinematic elements such as depth, mise en scene, and camera positioning, Ozu communicates his views on the treatment of women, which at times can tell more about his views than the dialogue and screenplay does. He comments on the institution of marriage and power inequity between men and women by conveying it through the camera, using depth and camera heights, as seen in throughout his works. Ozu also conveys the dichotomy of modern and traditional women using filmic elements such as mise-en-scene, which renders the dichotomy more noticeable than if just conveyed through dialogue. This dichotomy is ultimately his own perception of what traditional and modern Japanese values are. Ozu, using his distinct personal style as an auteur, such as the use of pillow and tatami shots, and deep depth of field, visually comments about how women are oppressed by the institution of traditional marriage, but also celebrates a womans personal autonomy at the same time.

Works Cited"Auteur Theory." Encyclopedia Britannica. N.p., 13 Jan. 2014. Web. 20 Oct. 2014."Bechdel Test Movie List." Bechdel Test Movie List. N.p., n.d. Web. 17 Oct. 2014. .Bordwell, David. Ozu and the Poetics of Cinema. London: BFI , 1988. Print.Donald Richies Audio Commentary Prod. Donald Richie. Early Summer. Dir. Yasujiro Ozu.Criterion Collection, 2004. DVD.Hein, Carolina. Laura Mulvey, Visual Pleasure and Narrative Cinema. N.p.: GRIN Verlag,2006. Laura Mulvey, Visual Pleasure and Narrative Cinema. Google Books, 2012. Web. 19 Oct. 2014.Richard Peas Audio Commentary Prod. Richard Pea. Late Spring. Dir. Yasujiro Ozu.Criterion Collection, 2006. DVD.Sarris, Andrew. "Notes on the Auteur Theory in 1962." The Film Artist. N.p.: n.p., n.d. 561-64.Print.Truffaut, Franois. "A Certain Tendency of French Cinema." Cahiers Du Cinma 31 (1954): n.pag. A Certain Tendency of French Cinema by Franois Truffaut. Web. 19 Oct. 2014. .Wood, Robin. Sexual Politics and Narrative Film: Hollywood and Beyond. New York:Columbia University Press, 1998. Print.

Works ViewedEarly Summer. Dir. Yasujiro Ozu. Perf. Chishu Ryu, Setsuko Hara. 1951. Criterion Collection,2004. DVD.Late Spring. Dir. Yasujiro Ozu. Perf. Chishu Ryu, Setsuko Hara. 1949. Criterion, 2006. DVD.The Munekata Sisters. Dir. Yasujiro Ozu. Perf. Kinuyo Tanaka, Hideko Takamine. 1950. TohoCo., 2004. Film.Tokyo Story. Dir. Yasujiro Ozu. Perf. Chishu Ryu, Setsuko Hara. 1953. Criterion Collection,2003. Film.Works ConsultedMulvey, Laura. "Visual and Other Pleasures." Screen (1975): 14-26. Indiana University Press.Web. 20 Oct. 2014.