Lutz and Collins discuss the idea behind the 'gaze,' or the way in which the spectator views the subject (the non-Western 'other'), along with various gaze theories. Theories by both Berger and Mulvey allow the viewer to "have the potential to enhance or articulate power of the observer over the observed" (135). They discuss the psychoanalytical views of the philosopher Lacan, who had discussed the gaze, and said that a painting can 'pacify' the viewer; by doing this the viewer cannot feel the distance between themselves and the subject, they are pacified to feeling the "anxiety that accompanies the gap between our ideal identity and the real" (136). My interpretation of the gaze is that it is an attempt, by the Westerners, at not only capturing the 'Other' but presenting viewers with the ability to feel connected to the subject through the gaze.
However, the gaze is only a representation of how the Westerners view the Non-Westerners, the gaze's impact on the subject is often racist, stereotyped and alienating. Similar to Mulvey's feminist film theory's view on the gaze, it is a negative way for the viewer to see the subject how they want to see the subject; it is often an unreal portrayal of the Other. The photograph, due to its ability to capture the image of the subject, can cause the viewer to think certain things according to this visual representation. However, due to the gaze of the Western photographer, as well as the gaze of the Western spectator (whoever is looking at the photograph), their perspective is warped because of the way they are looking at the subject.
However, the gaze is only a representation of how the Westerners view the Non-Westerners, the gaze's impact on the subject is often racist, stereotyped and alienating. Similar to Mulvey's feminist film theory's view on the gaze, it is a negative way for the viewer to see the subject how they want to see the subject; it is often an unreal portrayal of the Other. The photograph, due to its ability to capture the image of the subject, can cause the viewer to think certain things according to this visual representation. However, due to the gaze of the Western photographer, as well as the gaze of the Western spectator (whoever is looking at the photograph), their perspective is warped because of the way they are looking at the subject.
The authors use a quote from the philosopher Foucault to describe the way in which the photograph works to study the other, as well as promote "the normalizing gaze, a surveillance that makes it possible to qualify, classify, and to punish. It establishes over individuals a visibility through which one differentiates them and judges them" (136)
The 'magazine's gaze' of the Third World enables viewers to feel empowered as they view the Other, they are overcome with a "sense of self as modern, civilized, etc" (136). In general, the gaze creates a sense of distancing through social hierarchies that separate the spectator and the subject. It is the gaze that creates the image of the "Other;" through the photograph they have become "objects at which we look"(134).
Photography of "the Other," as seen in National Geographic creates the objectification of non-Western cultures, through different forms and views of the gaze. These different views by the spectator produce different interpretations and representations in the photograph.
I found it interesting that the majority of subjects were were found to look directly at the camera were women and other minorities, as seen by the non-Western subject's gaze. Statistically speaking, "children and older people more often look into the camera than other adults, those who appear poor more than those who appear wealthy or of moderate means, and those who are bronze more than those whose skin si white, and those in native dress more than those in Western garb" (140). Those who considered to rank higher in the patriarchy of society are photographed looking away from the camera and into the distance. Lutz and Collins discuss how the non-Western subject's gaze works in part determine "the differences in the message a photograph can give about intercultural relations" (139). Some believe that frontal portraits in photography do not work in terms of capturing a "truthful slice of life from another country," instead it makes more sense when "the photographer can achieve both the goals of intimacy and invisibility by taking portraits which are not directly frontal, but rather where the gaze angles off to the side of the camera" (140).
While the Lutz and Collins article discusses the way in which National Geographic photographs view the Other using the gaze to distance the non-Westerner, Mulvey discusses feminist film theory of the gaze in films that use and objectify the image of the woman. The feminist theory of the gaze uses the psychoanalytic theories of Lacan, in terms of ways of looking. Lacan's gaze is in regards to the phase of a child's development known as the "mirror stage" in which they recognize their own reflection and begin to develop an ego. In terms of photography, "the voyeuristic look requires and promotes distance between the reader and the subject, while narcissistic identification promotes at least the illusion that the photo is a mirror" (Lutz 138).
The gaze of the camera leads the viewer to feeling intimate with the subject in the photograph.
Mulvey uses Lacan's theory to explain the woman in film is often used for her femininity, which is a social construct, to represent an object of desire for the male (protagonist) character. The film spectator views the film in a heterosexual male point of view, as the woman is objectified and seen as different body parts which are shown close up, and one at a time. This objectifying reduces the female character to mere representation of desire; her actual role in the film is not important. Mulvey discusses the main theme of this desire from viewing the woman, as scopophilia, or pleasure of viewing.
While the Lutz and Collins article discusses the way in which National Geographic photographs view the Other using the gaze to distance the non-Westerner, Mulvey discusses feminist film theory of the gaze in films that use and objectify the image of the woman. The feminist theory of the gaze uses the psychoanalytic theories of Lacan, in terms of ways of looking. Lacan's gaze is in regards to the phase of a child's development known as the "mirror stage" in which they recognize their own reflection and begin to develop an ego. In terms of photography, "the voyeuristic look requires and promotes distance between the reader and the subject, while narcissistic identification promotes at least the illusion that the photo is a mirror" (Lutz 138).
The gaze of the camera leads the viewer to feeling intimate with the subject in the photograph.
Mulvey uses Lacan's theory to explain the woman in film is often used for her femininity, which is a social construct, to represent an object of desire for the male (protagonist) character. The film spectator views the film in a heterosexual male point of view, as the woman is objectified and seen as different body parts which are shown close up, and one at a time. This objectifying reduces the female character to mere representation of desire; her actual role in the film is not important. Mulvey discusses the main theme of this desire from viewing the woman, as scopophilia, or pleasure of viewing.
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