scopophilic

scopophilic

(ˌskɒpəˈfɪlɪk)
adj
(Psychiatry) of or relating to scopophilia
Translations
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References in periodicals archive ?
The liminality of Roberta's bathroom mirror/screen is, in contrast, light-centered for it lets us see real, actual bodies rather than eye-mediated framings and reflections and it also allows us to see its own materiality: its condensed water drops, its dampness, its dirt are materially present and opaque, signaling to the viewer how the threshold of the visible world in the film--emotions and affects--is intersubjectively based on the sense of touch (rather than on interbodily contact mediated by sight, gaze and anal penetration, the pivots of Alex's relationship with Alvaro, largely giving rise to the negative affect and scopophilic, phallic intensities).
In the system of representation of old women, it inserts the body as an element that conveys, potentializes and helps to define this old age, but refuses to adhere to the denial of aging provided by body technologies (allied to gender technologies that insist on objectifying and reifying women before the scopophilic gaze of men).
In poem II the voice impersonates a hyperbolic sexual gaze, taking over a masculine role as agent of desire in traditional love lyric and transgendering scopophilic discourses in romance.
Hence, they are fighting on two fronts: to dismiss the patriarchal system of women's objectification for male scopophilic satisfaction, in order to be on equal footing with men.
While the scene self awarely speaks to love as literal reflection of an ideal, it is unable to break out of the shared gaze to create a new paradigm for female agency or a space within the film away from the scopophilic.
Positioning the viewer as metaphoric shithole while also suggesting the asshole as a kind of third eye through which flows all manner of mythology, fantasy, conspiracy, and projection; turning the body into both a tool for mark-making and its support, the artist satirizes the scopophilic drive to interpret and control the body and its excreta.
It was a camera-based narration which, according to them, identified the film spectator as a subject in a complex process of interpellation: the spectator momentarily becomes a part of the cinematic apparatus by camera-based narration, which appealed to scopophilic and voyeuristic desires and fantasies relying on the unconscious constitution of the subjectivity.
Adhering to a distinctly psychoanalytic framework, she speaks of "a tension between the spectator's rational awareness of the film as a construct and their emotional involvement in the world that this construct presents, by engaging the scopophilic drive (through the use of generic convention) and then frustrating or rupturing that drive (through modernist techniques).
Mulvey (1989) noted that this identification process is predicated on the psychoanalytic pleasure derived by the viewer through the satiation of their scopophilic desires.
Her objectification is further emphasized by the male shoppers' scopophilic gazes as the confluence of verbs related to vision--"repasaban" y "mirandola"--shows in this description.
According to Mulvey, in Hollywood cinema the look of the camera is gendered masculine; therefore, women are fetishized by the camera, sexually objectified for the purposes of male scopophilic pleasure.
The first scenes of the film combine these elements by intermixing the mundane normalcy of the characters and the scopophilic desires of the audience.