Syftet med denna studie är att utforska den manliga och kvinnliga blicken i George R.R. Martins fantasinovell, A Game of Thrones (1996). Jag föreslår att skillnader i hur den manliga och kvinnliga blicken betraktar sitt objekt, kan avslöjas genom kritisk analys av kvinnliga huvudkaraktären Sansa Stark. Vidare menar jag att patriarkala strukturer kan synliggöras genom analys av manliga blickar som riktas mot den kvinnliga karaktären. Min analys av Martins fantasinovell har genomförts med hjälp av ett teoretiskt ramverk baserat på framförallt Laura Mulveys artikel Visual Pleasure and Narrative Cinema (1975) och Rachel S. Grates tes ”Love at First Sight? Jane Austen and the Transformative Male Gaze” (2015). Min analys visar att det finns skillnader i hur den kvinnliga och manliga blicken betraktar i sitt objekt. Den kvinnliga blicken tenderar exempelvis att vara mer mångfacetterad i sin värdering av ett objekt. Vidare visar analysen att de manliga blickarna avslöjar patriarkala strukturer.

Indiana University-Purdue University Indianapolis (IUPUI) / This study provides a social-text analysis of advertising images in queer publications which represent the new millennium up until 2008 in order to explore gaze theory in a queer context by answering the research question, “How have queer men represented themselves to themselves in the new millennium through the queer male gaze?” Inspired by Jean Kilbourne’s study of the image of women in advertising, this research project examines queer, millennial visual advertising images to explore the creation of normative queer behavior, identity, representation and the possible effects of those images on queer male consumers. A brief examination of previous work concerning male gaze as well as visual culture studies and their connection to Kilbourne’s work is addressed within the study. Further, this study discusses the concept of a bi-textual existence for the queer consumer in which identity is constructed from both an out-group (heteronormative) and in-group (homonormative) milieu. The theoretical foundation establishes that the queer male is placed in a hostile visual position—one where he is the dominating and dominated visual signifier in queer culture. Utilizing a stratified random sampling method, 293 images were coded to explore the research objective of constructing what the millennial queer gaze consisted of within full page advertisements in the queer specific publications of Gay Times, Genre, Instinct, and The Advocate. The results of the analysis construct a toxic visual world for the queer consumer dominated by narrow representations, sexual discourse, discriminating ideologies, and a dangerous repetition of heteronormative, hierarchical social structure found in the patriarchal gaze.

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Critical examination on the topic of gender representation, sexualisation, video gamecharacters and their designs is not untreated ground, and has been analysed using variousmethods; qualitatively, quantitatively (Tompkins & et. al., 2020), and textually. However,these analyses are often analysed from the assumption that the consumer of video game mediais male, cis, and heterosexual. This assumption is not unfounded, but ignores the experienceof the part of the population that does not fit this description. Therefore, the research question;“How is gender represented in Street Fighter V, when analysed from different gazes?” A textual corpus analysis on Street Fighter V: Champion Edition was performed using gazetheory as a theoretical framework. It was found that although the male gaze applied in almostevery point of the study, instances where the queer gaze applied could still be found. / Kritisk examination runt könsrepresentation, sexualisation, videospelkaraktärer och derasdesign är ej otrampad mark, och har blivit analyserad under mångfaldiga metoder; kvalitativt,kvantitativt, och textuellt. Dock så är dessa analyser ofta analyserade från antagandet attkonsumenten av videospelmedia är cis, heterosexuell, och manlig. Detta antagande är inteogrundad, men ignorerar upplevelsen av elen av populationen som ej passar dennabeskrivning. Därav utforskningsfrågan; “Hur är kön representerad i Street Fighter V, näranalyserad från olika blickar?” En textuell korpusanalys som använder sig blick-teori som teoretiskt ramverk av StreetFighter V: Champion Edition var genomförd. Det var funnet att trots att den manliga blickenkunde appliceras i varje punkt i studien, exempel där den queera blicken kunde appliceraskunde fortfarande hittas.

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Ce mémoire de maitrise se penche précisément sur une des caractéristiques de la culture du viol, soit l’érotisation des violences sexuelles. Il cherche à démontrer la présence de stratégies formelles et narratives érotisantes dans les scènes d’agressions sexuelles de longs métrages de fiction québécois des années 1960 à aujourd’hui et par le fait même, il étudie le fonctionnement du processus cinématographique d’érotisation. Afin de bien mener cette recherche, les agressions sexuelles, la culture du viol et l’érotisme font l’objet d’un exercice de définition. Le premier chapitre s’intéresse à la conceptualisation de l’érotisme, ce qui permet de circonscrire des stratégies formelles et narratives pertinentes à l’analyse de nos objets d’étude. Nous y détaillons les caractéristiques du cinéma érotique et du cinéma pornographique puisqu’elles participent au processus d’érotisation. Également, nous nous attardons sur la théorie des regards, notamment sur le male gaze, le female gaze et notre proposition de regard déplacé, puisqu’elle occupe une place prépondérante dans la définition de l’érotisme à l’écran. Le deuxième chapitre est consacré à l’analyse formelle et narrative de Gina (Denys Arcand, 1975) tandis que le troisième chapitre se concentre sur les études de La Rivière sans repos (Marie-Hélène Cousineau et Madeline Ivalu, 2019) et du cas limitrophe d’Elles étaient cinq (Ghislaine Côté, 2004) qui précise et nuance l’opposition entre l’érotisation et la non-érotisation des représentations d’agressions sexuelles. Ces analyses filmiques détaillées sont supplémentées de tableaux analysant 30 longs métrages. / This master’s thesis examines one of the rape culture characteristics, namely the eroticization of sexual violence. It seeks to demonstrate the presence of eroticizing formal and narrative strategies in scenes of sexual assault in Quebec feature films from the 1960s to the present. In doing so, it explores the functioning of the cinematic process of eroticization. To properly conduct this research, we define the concepts of eroticism, rape culture and sexual assault. The first chapter focuses on the conceptualization of eroticism, which allows us to determine formal and narrative strategies relevant to our objects of study analysis. Notably, we detail the characteristics of erotic cinema and pornographic cinema since they are all part of the eroticization process. Also, we elaborate on the gaze theory since it occupies a dominating place in the definition of cinematic eroticism, particularly on the male gaze, the female gaze, and our proposal of regard déplacé. The second chapter is dedicated to the formal and narrative analysis of Gina (Denys Arcand, 1975) while the third chapter focuses on the studies of La Rivière sans repos (Marie-Hélène Cousineau and Madeline Ivalu, 2019) and of the bordering case of Elles étaient cinq (Ghislaine Côté, 2004) which clarifies and nuances the opposition between the eroticization and non-eroticization of sexual assault representations. These film analyses are enriched by analytical grids covering 30 movies.