This anthology focuses on the concept of fetishism developed by Marx and Freud and its connection with artistic texts. Here, Laura Malvey returns to many complicated problems in contemporary cultural theory, especially the relationship between viewing, fantasy, theorization and historical change. Representative works are: the thesis "Visual Pleasure and Narrative Film" (1975);
His works include Vision and Other Pleasures (1989), Fetishism and Curiosity (1996) and Death at 24 Times Speed: Still and Moving Images (24xa seconds: Still and Moving Images, 2006). Seeing itself as a source of happiness-Laura Malvey
Laura Malvey pointed out that movies offer many possible pleasures. One is addiction. Just like the opposite form, being seen is also a kind of enjoyment. Initially, in his three papers on gender, Freud separated compulsion as one of the components of sexual instinct, and it existed as an internal driving force relatively independent of the sexual desire area. At this point, he linked compulsion with staring at others, making the watched object obey the controlled and curious gaze. His special case focuses on children's voyeurism, their desire to see and understand private parts and forbidden things (curiosity about other people's reproductive organs and body functions, whether they have a penis, and curiosity about reviewing the original scene). In this analysis, compulsion is active. (Later, Freud further developed his addiction theory in the article Instinct and Its Change, thinking that this was the first self-immorality in the pre-reproductive period. Since then, the fun of watching has been transferred to others according to the law of analogy. There is a close relationship between active instinct and its further development into a narcissism. Although instinct is regulated by other factors, especially its own constitution, instinct continues to exist as an erotic basis for obtaining pleasure from others. Extreme words can be fixed as perversion, leading to the possession of peeping tom and peeping tom. Their only sexual satisfaction, in the sense of initiative and control, can come from other people who watch objectification.
At first glance, the film seems to be far away from peeking into the secret world of an unconscious and unconscious victim. Everything you see on the screen is exposed. The entity of mainstream movies and the convention of conscious evolution of movies depict a closed world, which ignores the existence of the audience and artistically shows it, creating a sense of isolation for them and inspiring their voyeuristic fantasies. In addition; The extreme contrast between the darkness in the audience hall (which also isolates the audience) and the dazzling light of the moving light and shadow patterns on the screen also helps to promote the illusion of voyeurism alone. Although the film is really for people to watch, the screening conditions and narrative conventions give the audience an illusion, as if watching a secret world. In addition, the audience's position in the cinema is open, nudism is suppressed, and this suppressed desire is projected on the performers on the screen.