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This 6 page paper discusses the “gazes” in photography in the National Geographic, and uses those criteria to discuss three photographs. Bibliography lists 6 sources.
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6 pages (~225 words per page)
File: KV32_HV675409.rtf
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listed below. Citation styles constantly change, and these examples may not contain the most recent updates. Landscapes of Power through the Lens of the National Geographic
Research Compiled by K. Von Huben 6/2010 Please Introduction Perhaps no other publication has been as
closely associated with photography as the National Geographic. The Geographic-which nobody ever seems to throw away-brought exotic lands and people into the homes of those who would never otherwise be
able to see these cultures. But photos are never completely neutral, particularly when theyre taken for a magazine. This paper explores the idea of the "gaze" in photography, and then
discusses three photos from the National Geographic exhibit at the Stephen Bulger gallery. Discussion The idea of the gaze might be familiar from film studies, where feminist critics have identified
the "male gaze" as the way in which men look at women in film, such that the power remains with the men and the women are merely objects to be
observed. One of the best films to show this principle is Rear Window, directed by Alfred Hitchcock and starring James Stewart and Grace Kelly. Stewarts character, a photographer, has been
confined to a wheelchair following an accident, and he spends his recovery spying on his neighbors using either binoculars or the telephoto lens of his camera. Here the "male gaze"
is everything-we see everything from his perspective. Not only that, but when he observes the gorgeous young woman across the courtyard, he smiles to himself, indicating his (male) approval of
her (female) sensuality. She is entirely ignorant of the fact that hes watching her, so her reactions are spontaneous and natural. However, had she been 40 years older and 60
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