A Quote by J. G. Ballard

Nudity in photography, whether involving adults or children, is a subject sinking under a freight of political and moral disapproval it could never hope to support, and this is not the place for me to get out the bilge pump. I will only say that critics who tremble so fiercely at the thought of the voyeuristic male gaze miss the point that distance generates mystery and enchantment, and expresses the awe with which the male imagination regards all women.
I identify myself with the male gaze, I grew up with the male gaze, I've been excited by the male gaze. I'm a product of that culture.
I think it's important to sort of normalize male nudity on screen, because women are always naked. And none of the male nudity in the film, I think, is unnecessarily provocative. It's meant to be everyday.
Male nudity, full-frontal nudity, has always been considered a lot more taboo than female nudity. As far back as I can remember, there's been a double standard between men and women. I think it's time that men get equal time in terms of nudity.
Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.
The word revolution itself has become not only a dead relic of Leftism, but a key to the deadendedness of male politics: the revolution of a wheel which returns in the end to the same place; the revolving door of a politics which has liberated women only to use them, and only within the limits of male tolerance.
The bar is the male kingdom. For centuries it was the bastion of male privilege, the gathering place for men away from their women, a place where men could go to freely indulge in The Bull Session.
The bonding of women that is woman-loving, or Gyn/affection, is very different from male bonding. Male bonding has been the glue of male dominance. It has been based upon recognition of the difference men see between themselves and women, and is a form of the behaviour, masculinity, that creates and maintains male power… Male comradeship/bonding depends upon energy drained from women.
A tendency for the male perspective to dominate responses to films, whether that's commissions or how a film is presented in the world. The market is used to a male voice and a male audience, which it feeds
In the middle-class United States, a veneer of "alternative lifestyles" disguises the reality that, here as everywhere, women's apparent "choices" whether or not to have children are still dependent on the far from neutral will of male legislators, jurists, a male medical and pharmaceutical profession, well-financed lobbies, including the prelates of the Catholic Church, and the political reality that women do not as yet have self-determination over our bodies and still live mostly in ignorance of our authentic physicality, our possible choices, our eroticism itself.
It's predominantly a male society, predominately a male culture, predominantly a male theatre, and predominantly male critics, but that's changing, definitely.
Hugs are helpful, especially when women step out into a mostly male political world. Emotional support, at critical moments, enables women to stay in the race.
You could tell 'The Handmaid's Tale' from a male point of view. People have mistakenly felt that the women are oppressed, but power tends to organise itself in a pyramid. I could pick a male narrator from somewhere in that pyramid. It would interesting.
For me, the male gaze is oppressive. And I hope if we are building a female gaze that it's inclusive, and it's about pure desire and not how I want people to look in order for them to be desired by me.
It's rare to see women in a film who are not somehow validated by a male or discussing a male or heartbroken by a male,or end up being happy because of a male. It's interesting to think about, and it's very true.
I joined a very male-dominated profession back in 1986. I wanted to work with big multinational Fortune 500 companies, but you don't come into the firm and automatically get those. So, quite frankly, a key to my success was that I found male mentors and male sponsors. I think some women are afraid to say that.
When women do take on traditionally male subjects, certain male colleagues can seem affronted that a woman has dared to trespass on their subject. I could given you dozens of examples, but here's one: Max Hastings's review in the 'Sunday Times' in 2009 of Miranda Carter's book 'The Three Emperors'.
This site uses cookies to ensure you get the best experience. More info...
Got it!