As a woman herself, she had an intimate perspective of the daily lives of women in Paris. In her paintings, Berthe Morisot portrayed women at all stages of their lives. The power of the female gaze can be rightly seen in the works of Berthe Morisot. Mulvey states that “the gender power asymmetry is a controlling force in cinema and constructed for the pleasure of the male viewer, which is deeply rooted in patriarchal ideologies and discourses.” This principle of women being portrayed for the benefit of male audiences was then adopted by feminist art historians who started propagating “the female gaze.” The female gaze shows women as seen by other women (and some men): not as sexualized or idealized objects but as interesting subjects. Important historian of film theory Laura Mulvey defined “the male gaze” in her seminal essay Visual Pleasure and Narrative Cinema, first published in 1975.
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