References
[1]. Mulvey, L. (2013). Visual pleasure and narrative cinema. In Feminism and film theory (pp. 57-68). Routledge.
[2]. Wheeler, K. L. (2017). Examining sex and climaxes in Blue is the Warmest Color and Carol.
[3]. Krauthaker, M., & Connolly, R. (2017). Gazing at Medusa: adaptation as phallocentric appropriation in Blue Is the Warmest Color. European Comic Art, 10(1), 24-40.
[4]. White, P. A. (1993). The uninvited: Cinema and the conditions of lesbian representability.(Volumes I and II). University of California, Santa Cruz.
[5]. Shamoon, D. (2021). Class S: appropriation of ‘lesbian’subculture in modern Japanese literature and New Wave cinema. Cultural Studies, 35(1), 27-43.
[6]. White, P. (1999). Uninvited: Classical Hollywood cinema and lesbian representability. Indiana University Press.
[7]. Lee, J. J. (2018). Queer Inventions: Rupturing Narrative Hegemony in Sarah Waters' Fingersmith. Nineteenth-Century Gender Studies, 14(3).
[8]. Freud, S. (1983). The interpretation of dreams. In Literature and Psychoanalysis (pp. 29-33). Columbia University Press.
[9]. Cicek, F. (2012). From Margins to the Center Through the Film Lens: Gender and Turkish-German Cinema (Doctoral dissertation, [Bloomington, Ind.]: Indiana University).
[10]. Kim, S. Y. (2020). Unethical Adaptation: Indigenization and Sex in Chan-wook Park’s The Handmaiden (2016). Adaptation, 13(1), 1-12.
[11]. Stacey, J. (1988). Desperately seeking difference.
[12]. Muzart, T. (2022). Girlhood Through a Glass Queerly. Contemporary French and Francophone Studies, 26(4-5), 481-489.
[13]. Wolfe, S. J., & Roripaugh, L. A. (2006). Feminine Beauty and the Male Gaze in The L-Word. MP: An International Feminist Online Journal, 1(4), 1-7.
Cite this article
Yue,X.;Hu,Z.;Yin,J. (2025). Male Gaze in Fingersmith: How the Director's Gender Impacts the Visual and Narrative Style of Cinema about Lesbian. Communications in Humanities Research,70,76-84.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
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References
[1]. Mulvey, L. (2013). Visual pleasure and narrative cinema. In Feminism and film theory (pp. 57-68). Routledge.
[2]. Wheeler, K. L. (2017). Examining sex and climaxes in Blue is the Warmest Color and Carol.
[3]. Krauthaker, M., & Connolly, R. (2017). Gazing at Medusa: adaptation as phallocentric appropriation in Blue Is the Warmest Color. European Comic Art, 10(1), 24-40.
[4]. White, P. A. (1993). The uninvited: Cinema and the conditions of lesbian representability.(Volumes I and II). University of California, Santa Cruz.
[5]. Shamoon, D. (2021). Class S: appropriation of ‘lesbian’subculture in modern Japanese literature and New Wave cinema. Cultural Studies, 35(1), 27-43.
[6]. White, P. (1999). Uninvited: Classical Hollywood cinema and lesbian representability. Indiana University Press.
[7]. Lee, J. J. (2018). Queer Inventions: Rupturing Narrative Hegemony in Sarah Waters' Fingersmith. Nineteenth-Century Gender Studies, 14(3).
[8]. Freud, S. (1983). The interpretation of dreams. In Literature and Psychoanalysis (pp. 29-33). Columbia University Press.
[9]. Cicek, F. (2012). From Margins to the Center Through the Film Lens: Gender and Turkish-German Cinema (Doctoral dissertation, [Bloomington, Ind.]: Indiana University).
[10]. Kim, S. Y. (2020). Unethical Adaptation: Indigenization and Sex in Chan-wook Park’s The Handmaiden (2016). Adaptation, 13(1), 1-12.
[11]. Stacey, J. (1988). Desperately seeking difference.
[12]. Muzart, T. (2022). Girlhood Through a Glass Queerly. Contemporary French and Francophone Studies, 26(4-5), 481-489.
[13]. Wolfe, S. J., & Roripaugh, L. A. (2006). Feminine Beauty and the Male Gaze in The L-Word. MP: An International Feminist Online Journal, 1(4), 1-7.