Laura Mulvey’s essay explores the existing fascination of “looking” that society is conditioned with. From the outset Mulvey describes the role of cinema as supporting and existing as an offshoot from our natural inclinations towards scopophelia. However as much as cinema satisfies the natural urge to view, it “develops scopophelia in a narcissistic view.” We observe what we are already conditioned with and Mulvey describes the pleasure of scopophelia in terms of attaining pleasure which is an instinctual component involved with sex that does not rely on the erogenous zones for arousal. However the voyeuristic tendencies associated with cinema seem to be derived from the psychological development of the brain.

Voyeurism assumes the lack of knowledge by the viewed and therefore extracts the elf-preservation through the gaze of the camera. Essentially cinema serves the socially supported notions of symbolism whereby the male perspective is valued with preference due to a woman’s “lack”. In the film Jackie Brown the protagonist of the same name struggles to negotiate a future for herself when she is caught transporting money for a known gun dealer.

With respect to her career as a flight attendant her insolvent in money smuggling jeopardizes her retirement. The film reveals Jackie Brown as a strong woman who negotiates with police, arms dealer and various masculine forces. Although she is successful at escaping the police charges, a murder attempt, and walks away with the money Jackie Brown is nevertheless objectified. Pam Grier stars as Jackie who from the outset is presented in her airline attire which adds to the sexual male gaze. Furthermore Pam is objectified almost in contrast to the male actors who play beside her. She is attractive and well aware of it however the film draws the viewer’s attention to Jackie who represents the viewed object by a voyeuristic audience. Jackie is successful at securing her future and satisfying a narrative end however she is also successfully objectified.

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