Patriarchy and the Arts

From the very beginning of humanity, from as far back as recorded history of the world allow ones to know, women, have been violently abused, and enslaved by men. They have become the objects of men to own, to sell, to use, and to abuse. Biologically based arguments, which defined women as the weaker sex and established social roles for men and women, has also contributed to the sexual objectification of women in the arts, where the female body is not only repeatedly used to satisfy men’s sexual fantasies, but also used to console men and to empower their masculinity.

 John Berger, the author of “Ways of seeing”, explores the art of oppression and dehumanization of women in the visual arts, not always so explicit. The concept of the male gaze, which he extensively expands on, defines men as the protagonist, and primary reason for all creations of art, “as everything must appear to be the result of his being there”, and for why women “have assumed their nudity” (54).  They were not only the judges, but they were also the owners, not only of the piece itself, but also of the naked subject portrayed.  A reflective example of this is illustrated in the painting of Nell Gwynne, a mistress of Charles the second, a piece commissioned by the King. The naked mistress does not express any emotion, and rather presents herself more like a motionless object, meant to be watched, and desired. As Berger noted, her passive eye contact with the viewer while being observed, and nakedness, is symbolic to her “submission to the owner’s feelings, or demand” (52), successfully oppressing her identity, and removing any trace of human essence. 

Sir Peter Lely's portrait of Nell Gwynne as Venus, with her son Charles Beauclerk as Cupid. Credit: Bridgeman Art

Berger’s viewpoint on the male gaze can also be correlated to the text “Understanding Patriarchy” by Bell Hooks, where she defines patriarchy as being based on a belief of the natural dominance inherited by males upon all things (people as well, especially women), and the use of “psychological violence” (18) to keep his dominance. In the text, Hooks shares her own personal story of the painful process of growing up and being physically punished for possessing traits considered masculine, “unnatural” for a female, and asked to accept that she’s only a “little girl” (21). In contrast, her bother, who was naturally softer and passive, was constantly encouraged to be more assertive, competitive, and dominating, which felt confusing and a torturous process for both. 

A significant remark made by Hooks, which also ties with one of the insights in the text written by Berger, is that one often blames men for the patriarchal system inhabiting one’s society, however, women are just as responsible as men, for they support the patriarchal system by absorbing these concepts/behaviors to themselves, while also passing it on to their daughters, sons, and other women from society. This is by far one of the greatest remarks I have ever read in my entire life, and which I am also ashamed to admit, because it blew my mind in such way which also makes me realize of my alienation towards my own attitudes and ideologies about the female sex. I am just as highly critical, and cautious about my presentation as a woman, as I am towards other women's presentation of themselves, which we are conditioned to judge on patriarchal values without much thinking or awareness. Berger successfully depicts this tragedy for women by exemplifying women as individuals with two complementary personas, one being the “surveyor” and the other the “surveyed” (46).  She must always watch herself, while also being watched by her own patriarchal lenses, and by her greatest spectator, men. The author also acknowledges the submission of women and loss of sense of self (self-love), as she is “supplanted by a sense of being appreciated as herself by another.” (46). This concept reflects many of the mental illness, and emotional distress experienced by women and even young girls today, who often obsess about fitting into a societal beauty standard (created by men) , and consequently become emotionally/physically sick. 

 Although Berger wrote this piece referring to European nude paintings and its history, it still reflects the reality of modern day art and media, and how women are induced into giving their power (how one feels and sees the self) to men, and used for men’s pleasure. The objectification of women in the cinema is a significant example of a modern day male gaze. In superhero movies, heroines, women with supernatural powers characterized with masculine qualities, such as strength, courage, independence, dominance, and power, are often portrayed as erotic, sexual figures. The hypersexualization of female superheroes supports the dehumanization of the female sex, and removes her power to be superior or equal to men. Although she possesses all noble qualities, she is still put in her place as a woman, and there to serve men.  A commonly used technique to objectify women in films is to use the camera as the gaze.  The camera often fragments women’s body parts, and slowly pan up and down on the female character body curvatures. Often, a male character is observing the woman.  

Retrieved from: http://www.skviral.com/sexy-female-superheroes/

              In response/reaction to the male gaze, the term female gaze has been birthed, and slowly continuous to gain recognition. While women still make up such a small percentage of the screens, and behind the scenes, they still face great limitation of expression in the cinema and all the other arts. Although the term female gaze sounds pretty simplistic and obvious, it is quite more than just the female dominance on screens or the hypersexualization of men. Since women are fighting against objectification, they can't fight using the same argument, that would be too hypocritical. They are fighting with something beyond than just the body. In an article by Stefani Forster, she describes the ultimate goal of the female gaze as to make the "audience feel what women see and experience" (2018). It is also the notion that feelings and emotions are prioritized over body parts. Ultimately, the female gaze does not compete for the place of the male gaze, but rather has a purpose to destroy it once and for all.

Works Cited

Berger, John. Ways of Seeing. British Broadcasting Corporation, 2008.

Hooks, Bell. The Will to Change: Men, Masculinity, and Love. Simon & Schuster, 2005.

Forster, Stefani. “Yes, There's Such a Thing as a 'Female Gaze.' But It's Not What You Think.” Medium, Truly., 12 Sept. 2019, https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed.