After researching and studying the three theorys (Lacan, Freud and Mulvey), I came to the conclusion that i wanted to apply Mulvey's theory to my work, but with a twist. Instead of using the 'Male' gaze theory, I looked into whether the 'Female' gaze theory exists; which it does. The Female gaze is exactly the same concept as the male theory, but with switched genders, so a male is placed into a scene sole for the purpose of being objectified sexually for a female audience (Or anyone attracted to men). I publish examples of this in my next post.
As I was going on holiday to Marrakech, Morocco with my boyfriend, I found this the perfect opportunity to bring a camera and execute my chosen theory. I decided to use a go pro to film as I could use the wide angle shot, which is down to my own preference. The Go Pro is also more easy to travel with:) I feel that it creates certain style to the piece as it looks as though it almost has a fish eye effect.
I began with some establishing shots of the taxi journey ride towards more rural areas. I did this simply to introduce the audience to the location and I also included the background noise of some Moroccans that were talking in the taxi. This also confirms to the audience where we are.
Rayaan (the subject of the film) is first introduced in a pan over the desert. The sun is in the shot acting as a backlight. This makes Ray appear as a silhouette prompting the audience to want to know who the character is and what he looks like. In the next change, I have included a long shot of him sunbathing topless. The camera doesn't move and lingers on him whilst he lies there and turns over, revealing his body. I did this so the audience is forced to focus on him. I chose to use Ray as the model as he has the desirable sexualised body that the majority of women would find attractive; he is muscly and sculpted. I decided to use baby oil as a prop and filmed him rubbing it over his body. During the editing process I slowed down the speed of certain shots to show his muscles and immediately creates a sexualised image. The fact that I haven't included speech amplifies him being objectified as you find out nothing of his personality and he is obviously placed in the film only to be looked at. I have clearly executed Mulvey's 'Visual Pleasure and Narrative Cinema' by showing this.
When he sits down to apply the oil, the angle of the camera and the angle of the sun us perfect to create certain shadows on the crevasses between his muscles. I did this also for the audiences visual pleasure.
After these shots, I included an upwards pan of him leaning against the glass, which brings the audiences attention to his bum and his naked back; I also slowed this shot down to 25%.
The next scene introduces the audience into Ray being at the spa and entering the pool. I believe it is a sexual aspect when a man is covered in water and a specific shot I included was a close up of him emerging from the water. He strokes his wet hair back and clenches his jaw, making him look desirable. The low amount of lighting sets a sultry mood and is also inspired by the colour scheme of "The Neon Demon" by Nicolas Winding Refn.
To introduce the audience to a new location i switch between shots of the spa and outside in the snowy mountains. Ray is seen looking into the distance at the scenery, but I also did this to imply that he is looking into the distance because he is looking for a suite as he is alone. This could perhaps make the viewer want to be there with him.
Now I have finished filming and editing my short film, I feel as though I have a better understanding of the Male Gaze theory, and also the female and "queer" gaze theory. I feel that I can effectively use these theories in analysis.
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