<p>The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which</p><p>needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.</p><p>In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes</p><p>the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.</p><p>The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.</p>

The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil. In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others. The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.