Bazin subjectivity as a human hand intervened cast a shadow of doubt over the image is unavoidable.1/20/2024 ![]() They are constructed in terms of the heterosexual model of sex which involves penetration, domination and still removed from the realm of lesbian pleasure involving the feminine perspective (because of course, the one thing that should be present in lesbian pleasure is a man). The first two stereotypes are ones that an average viewer is familiar with when it comes to lesbian bodies on screen. Of course, there is the fourth unspoken depiction of Jennifer’s body However, with the already malleable image of woman present, in what ways does the lesbian body differ from that of the default woman?Ĭreed proposes at least three stereotypes: Once again, Creed not only offers a looking glass into the monstrous portrayal of women but also a list of potential band names. Their bodies are a reminder of man’s debt to nature and is almost unnatural in the way that they are “penetrable, change shape, swell, give birth, contract, lactuate and bleed” (Creed, 1995). With this in mind, the lesbian image in cinema also serves as a greater statement for the surface level understanding of society on the identity of the lesbian woman.Ĭreed (1995) describes the depiction of women in photography and film in a way that I consider to be the coolest band name ever “narcissist, sex-fiend, creature, tomboy, vampire, man-eater, child, nun, virgin”. ![]() Considering the proclivity of cinema to engage in a transaction with its viewer, the bodies present on the screen tell a story with implicit imagery that the filmmaker knows the audience will understand. In the case of queer representation, the lesbian stereotypes present in media can act as a marker for their real-life counterparts to use as a basis for their own formed identity. Cinema as a vessel for the reproduction of reality calls into attention the bodies it chooses to represent. ![]()
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