Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship

Abstract

masculinization' of the spectator position, regardless of the actual sex (or possible deviance) of any real live movie-goer."6Besides its somewhat monolithic notion of classical cinema and provocatively Manichean stance on visual pleasure, Mulvey's argument has been criticized frequently for the difficulty of conceptualizing a female spectator other than in terms of an absence.7In the decade since Mulvey's essay was published, however, feminist critics have attempted to rescue female spectatorship from its "locus of impossibility," in particular in areas elided by the focus on women's systematic Cinema Journal 25, No. 4, Summer 1986 7

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