• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• English & American cultural studies
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• v.17 no.2
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• Trans-
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• v.15
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• pp.57-79
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• 2023

This study aims to explore the strategies and effects of SNS images used by four popular male beauty influencers to gain identification with their female fans. The research selected four male beauty influencers, namely Li Jiaqi, Jeffree Star, James Charles, and Bretman Rock, with a high number of subscribers on Instagram, YouTube, and TikTok as of July 21, 2023. By observing the content they posted on SNS, the study analyzed the types, characteristics, and relevance of male beauty influencer images with their female fans using Lacan's gaze theory. Additionally, concepts related to gaze, such as the mirror stage, the screen, and objet petit a, were supplemented to conduct an in-depth analysis of the characteristics of male beauty influencer images and the motivations of female viewers. The study results suggest that male beauty influencers can maintain an intimate relationship, referred to as 'girl-friendship,' with their female fans through the identification formed by the homogeneity within the feminized mirror images. Furthermore, male beauty influencers can transform female viewers from being seen as objects to seeing them as subjects by presenting images that embrace diversity in gender identity, challenging the traditional notions of societal gender norms. Therefore, the images of male beauty influencers not only challenge gender stereotypes but also cater to the demands for independence and equality of modern young women, promote understanding of feminine gaze, and explore the potential for democratization and inclusivity on social media platforms from a new perspective.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.24 no.3
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• pp.129-137
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• 2011

Objective : Foville syndrome & Foville-Millard-Gubler syndrome is a disease characterized by facial palsy, ipsilateral conjugate gaze palsy and ipsilateral internal strabismus. There has never been a clinical report of this disease in oriental medicine. Since gradual improvement has been experienced with oriental medical treatments based on facial palsy and paralytic strabismus in this case, it is worthwhile to introduce this disorder and report the case referring to clinical record. Methods : 75-year-old female patient and 45-year-old male patient suffering right facial palsy, right conjugate gaze palsy and right internal strabismus were treated with acupuncture, herbal medicine, pharmacopuncture and electroacupuncture. Result : Concurrence of right facial palsy, right conjugate gaze palsy and right internal strabismus was diagnosed with Foville syndrome or Foville-Millard-Gubler syndrome which is generally caused by the impairment of PPRF, abducens and facial nerves on the affected side and showed improvement with oriental medical treatments. Conclusion : More accurate diagnosis, more aggressive treatments and further researches are all required on this disease afterwards.

• Korean Journal of Applied Biomechanics
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• v.27 no.1
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• pp.35-43
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• 2017

Objective: The purpose of this study was to determine how gaze angle affects muscle activity and kinematic variables during treadmill walking and to offer scientific information for effective and safe treadmill training environment. Method: Ten male subjects who have no musculoskeletal disorder were recruited. Eight pairs of surface electrodes were attached to the right side of the body to monitor the upper trapezius (UT), rectus abdominis (RA), erector spinae (ES), rectus femoris (RF), bicep femoris (BF), tibialis anterior (TA), medialis gastrocnemius (MG), and lateral gastrocnemius (LG). Two digital camcorders were used to obtain 3-D kinematics of the lower extremity. Each subject walked on a treadmill with a TV monitor at three different heights (eye level; EL, 20% above eye level; AE, 20% below eye level; BE) at speed of 5.0 km/h. For each trial being analyzed, five critical instants and four phases were identified from the video recording. For each dependent variable, one-way ANOVA with repeated measures was used to determine whether there were significant differences among three different conditions (p<.05). When a significant difference was found, post hoc analyses were performed using the contrast procedure. Results: This study found that average and peak IEMG values for EL were generally smaller than the corresponding values for AE and BE but the differences were not statically significant. There were also no significant changes in kinematic variables among three different gaze angles. Conclusion: Based on the results of this study, gaze angle does not affect muscle activity and kinematic variables during treadmill walking. However, it is interesting to note that walking with BE may increase the muscle activity of the trapezius and the lower extremity. Moreover, it may hinder proper dorsiflexion during landing phase. Thus, it seems to reasonable to suggest that inappropriate gaze angle should be avoided in treadmill walking. It is obvious that increased walking speed may cause a significant changes in biomechanical parameters used in this study. It is recommended that future studies be conducted which are similar to the present investigation but using different walking speed.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.17-30
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• 2018

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1105-1117
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• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.128-136
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• 2009

This study analyzed and defines the property of visual perception throughout the revision of the observation time of the original space and the rotating space. The conclusions of this study are as fellows: First, based on the existing theory and experiment, the study obtained the basis which decides the sector data originating fixation-gaze after staring the specific sector over 300ms time. It will become the turning point hereafter for our research to fix the time in this way. Second, in analyzing the minute data, the study built a revision method of the observation time by analyzing the meanings and the reasons of the revision of the original data. Third, according to the difference of revision quantity, female testee have more increases in the amount of data than male testee from the original screen. On the other hand, the opposite tendency appears from the previous data. This shows there is a difference in the observation properly by sex. Last, we could grasp Information about the property of the observation time throughout eyeball fixations, and the revision and analysis of the 'controlled observation data'. These data can be used in design element arrangement of interior space, hereafter.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.