I found the discussion of the gaze to be extremely interesting. D’Alleva defines the “gaze” as a “process of looking which includes a network of relationships” (106). According to D’Alleva, the gaze is a powerful way to assert ones authority. D’Alleva then goes on to discuss the gaze in terms of film theory, which made me think back to discussions of the gaze that I had in History of Photography sophomore year.<\/p>\n
In History of Photography we read a chapter titled “The Photograph as an Intersection of Gazes: The Example of National Geographic.” This essay written by Catherine Lutz and Jane Collins discusses the multiple layer of “gazes” apparent in a photograph. Lutz and Collins argue that there are 7 different kinds of gazes for National Geographic photos: photographers, institutional\/magazines, readers’, non western subjects gaze, gaze of the western in the photo, the gaze returned or retracted from the mirrors that many non westerners hold in photographs, and our own, academic gaze. Although these 7 gazes apply directly to National Geographic photographs, they still help to expand on D’Alleva’s arguments about the gaze. Lutz and Collins takes D’Alleva’s discussion about the gaze one step further by showing the complexity and interconnectedness of the gaze. While D’Alleva uses film theory to discuss the experience of viewing, Lutz and Collins uses a specific source, National Geographic, \u00a0to understand the relationship between the subject, the artist, the viewer, and society at large.<\/p>\n","protected":false},"excerpt":{"rendered":"
I found the discussion of the gaze to be extremely interesting. D’Alleva defines the “gaze” as a “process of looking which includes a network of relationships” (106). According to D’Alleva, the gaze is a powerful way to assert ones authority. D’Alleva then goes on to discuss the gaze in terms of film theory, which made … <\/p>\n