Furthermore, as Buhler describes, 'narrative cinema, because it requires agency, almost always invites the viewer to look at a human body', and Mulvey's seminal paper on the male gaze in cinema goes further to describe how 'film has depended on voyeuristic active/passive mechanisms', in particular identifying how 'the image of woman as (passive) raw material for the (active) gaze of a man' functions to produce 'an illusion cut to the measure of desire'. Case studies include Indiana Jones and the Last Crusade (1989), Goldeneye (1995) and Braveheart (1995), all three of which will be examined within the context of film, soundtrack and feminist theories.įilm, as with other visual arts, is a spectatorial experience that invites the contemplative gaze of the viewer. This study examines musical scores and characterisations of gender in late twentieth-century films, questioning whether nondiegetic music can be said to impose its own agency on supporting female characters that constrains their development within the narrative, resulting in their objectification.
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