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Textbook Expanding The Gaze Gender and The Politics of Surveillance 1St Edition Emily Van Der Meulen Ebook All Chapter PDF
Textbook Expanding The Gaze Gender and The Politics of Surveillance 1St Edition Emily Van Der Meulen Ebook All Chapter PDF
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Expanding the Gaze
This book has been published with the help of a grant from the Federation
for the Humanities and Social Sciences, through the Awards to Scholarly
Publications Program, using funds provided by the Social Sciences and
Humanities Research Council of Canada.
Foreword vii
shoshana magnet
Acknowledgments xi
Introduction
5 Profiling the City: Urban Space and the Serial Killer Film 103
jenny reburn
Contributors 290
Index 295
Foreword
shoshana magnet
References
AFP (2014, 18 July). US teenager faces jail for sending girlfriend nude
selfie. The Telegraph. http://www.telegraph.co.uk/news/worldnews/
northamerica/usa/10977677/US-teenager-faces-jail-for-sending-girlfriend-
nude-selfie.html
Cvetkovich, A. (2012). Depression: A public feeling. Durham, NC: Duke
University Press. http://dx.doi.org/10.1215/9780822391852
DAWN-RAFH Canada and B. Brayton (2014, 14 February). The
criminalization of women with disabilities: An interview with Bonnie
x Foreword
This perspective also brings longer histories into view, offering a cor-
rective to the more present-centric tendencies that see surveillance as
dramatically new. Gendered social practices, subjectivities, bodies, and
experiences are also not discrete; gender intersects with a host of other
identity forms and social processes, including race, sexuality, ability,
and class. Starting from the perspective of gender, we contend, opens
up rich and diverse perspectives for our understanding of practices of
surveillance, both building on and challenging foundational concepts
and approaches. As with much of the field, this book centres on and
explores the Western context, a perspective that offers the virtue of
focus but that can only ever be partial. An important avenue for further
research lies in broadening the field to account more fully for the differ-
ential global impacts of surveillance, in particular in Africa, Asia, and
Latin America. If gender brings new forms of surveillance into view,
much more work is needed to bring globally differentiated experiences
of surveillance into its studies.
In what follows, we build on existing work on gender and surveil-
lance as well as other critical work that, while not explicitly addressing
surveillance, offers resources for a rethinking of the field. This involves
engaging with longer traditions of feminist scholarship and with his-
torical and contemporary social practices that are often not seen as
forms of surveillance. In doing so, we begin this introduction with an
opening section that provides both a critical overview of surveillance
studies and an account of some of the key contemporary works on
gender and surveillance that are beginning to transform the field. The
next three sections mirror the organizational structure of the book itself,
each addressing key areas of focus: gender, media, and surveillance;
surveillance and gendered embodiment; and surveillance and the gen-
dering of urban space. In each of the three areas we in fact find a well-
developed feminist scholarship that, while often not directly related to
or taken up by scholars of surveillance studies, speaks to the key ques-
tions in the field. The different areas (media, bodies, urban space) are
deeply interconnected, with the themes cutting across the sections of
this introduction and, more importantly, linking the various chapters
in intriguing and complex ways. Thus, woven through our discussion
below is an attempt to bring to bear a range of interdisciplinary per-
spectives that, we argue, can enrich our understandings. What emerges
is less a definitive statement on gender and surveillance and more a set
of questions for further research, setting the context in turn for the pro-
vocative interventions presented in the subsequent chapters.
6 Robert Heynen and Emily van der Meulen
only such commercial activity but also a broad range of state and other
institutional forms of data collection, the proliferation of surveillance
produces what Haggerty and Ericson (2000) have called a “data dou-
ble” (p. 606), a collection of data directly related to, but distinct from,
our “real world” selves. We thus exist in the contemporary world as a
doubled self – that is, an informational and a material self. As we will
see, though, this data double is a fraught concept, in particular when
we consider it from a gendered perspective.
It is in thinking through the complex and contradictory nature of
contemporary forms of surveillance that a gender-based approach
has made some of the most significant contributions to surveillance
studies. Koskela’s (2002, 2003, 2012) work is especially interesting in
this regard, as she was one of the first to bring gender into surveil-
lance studies in a significant way. Her research on the gendered nature
of CCTV, for example, stressed that while seemingly important for
increasing women’s security in potentially dangerous public spaces,
cameras can conversely be experienced by women as increasing inse-
curity (for similar findings, see van der Meulen & Glasbeek, 2013). At
its most basic, Koskela argues, surveillance is often about men watch-
ing women, a dynamic left largely unaddressed in most accounts (see
also Norris & Armstrong, 1999). Certainly in Foucault’s work this was
not explicitly addressed, despite the very different gendered dynam-
ics operative in each of the panoptic institutions he studied. Prisons,
education systems, and the military were historically predominantly
or exclusively male-dominated, with men watching other men. Dif-
ferent in this respect were psychiatric and medical institutions, with
both men and women surveilled by male medical professionals, but
with women subjected to special scrutiny. Especially in asylums, where
we find the “female malady” (Showalter, 1985) of hysteria becoming a
key diagnosis, surveillance itself became a gendered public spectacle,
with predominantly female inmates paraded for scientific entertain-
ment (Didi-Huberman, 2003). Here we can see particularly clearly the
simultaneous working of the panoptic and synoptic modes, with the
latter in this instance by no means emancipatory in nature. The history
of asylum practices demonstrates the extent to which both panoptic
and synoptic systems promoted internalized forms of self-surveillance
through which gender norms were taught. These did not go uncon-
tested, however; much feminist activism over the last century or more
has challenged the ways in which myriad forms of self-surveillance
have produced such gendered subjects, both masculine and feminine.
10 Robert Heynen and Emily van der Meulen
women too can occupy the position of the spectator. The risk, though, is
that this conception of the male gaze and its internalization in a form of
gendered “soul training” becomes reductive and totalizing. Mulvey’s
work has thus been challenged for its monolithic character, with bell
hooks (1992) famously arguing that what she is describing is more spe-
cifically a white male gaze, with Black women rarely appearing in front
of the camera (or behind, for that matter). When they do appear, it is
not as the object of the gaze (which remains the white woman), and
their subsequent invisibility or denigration means that Black women
as spectators develop what hooks calls an “oppositional gaze.” Ulti-
mately, Mulvey’s account risks missing key dynamics like race; it also
risks reinscribing the gendered binary that she is ostensibly critiquing,
ignoring the extent to which gender itself is performative – constituted,
as Judith Butler (1990, 1993) argues, through the repetition of gendered
norms. The male gaze itself can also be queered, undermining the
binary system of gender (Halberstam, 2005). From these perspectives,
gender systems seek to produce stable identities but are in fact con-
tradictory, fragmented, changing, and intersecting with race, sexuality,
disability, class, and a host of other social relations and practices. Gen-
der is also thus embodied, a perspective we develop in the next section.
While focused on film, the work of Mulvey and hooks has influenced
feminist media studies more broadly. It has recently been taken up, for
example, in studies of gender and surveillance on Twitter (Dubrofsky
& Wood, 2014). Social media are arguably rather different from film,
though, in particular given the diffuse nature of digital communica-
tion. In that sense, social media offer the possibility of more partici-
patory forms of surveillance characterized by “subjectivity that takes
part in its own surveillance” (Albrechtslund, 2012, p. 196). Many of
the debates around gender and new media (but also “old” media) are
precisely about the extent to which the rather monolithic notion of the
male gaze is conceptually useful. What is clear, though, is that stereo-
typical gender norms continue to shape people’s social media experi-
ences and that young men and women use social media in distinctive
ways (Bailey et al., 2013). These gendered distinctions are reinforced
in advertising, with cellphone ads, for example, presenting profoundly
gendered images of users that actively legitimize surveillance, in partic-
ular of teen girls, situating them again as the object of the gaze (Vickery,
2014). Despite these powerfully gendered dimensions of digital prac-
tices, many accounts of new media, identity, and surveillance continue
largely to ignore gendered analyses (e.g., Jansson & Christensen, 2014).
Gendered Visions 13
S. Ignatii Ad Trallianos.
And when this epistle is read among you,
cause that it be read also in the church of the
Laodiceans.
he broad
backed
hippopotamus
Rests on his
belly on the
mud;
Although he
seems so firm
to us
He is merely
flesh and
blood.
Flesh-and-
blood is weak
and frail,
Susceptible
to nervous
shock;
While the True Church can never fail
For it is based upon a rock.
Daguerrotypes
and silhouettes,
Her
grandfather
and great great
aunts,
Supported on the mantelpiece
An Invitation to the Dance.
ired.
Subterrene
laughter
synchronous
With silence
from the sacred
wood
And bubbling of
the uninspired
Mephitic river.
Misunderstood
The accents of the now retired
Profession of the calamus.
Tortured.
When the bridegroom smoothed his hair
There was blood upon the bed.
Morning was already late.
Children singing in the orchard
(Io Hymen, Hymenæe)
Succuba eviscerate.
Tortuous.
By arrangement with Perseus
The fooled resentment of the dragon
Sailing before the wind at dawn.
Golden apocalypse. Indignant
At the cheap extinction of his taking-off.
Now lies he there
Tip to tip washed beneath Charles’ Wagon.
PRUFROCK.
THE LOVE SONG OF
J. ALFRED PRUFROCK
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza più scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’ odo il vero,
Senza tema d’infamia ti rispondo.
us go then,
you and I,
When the
evening is
spread out
against the sky
Like a patient
etherized upon
a table;
Let us go,
through certain
half-deserted
streets,
The muttering
retreats
Of restless
nights in one-
night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question....
Oh, do not ask, “What is it?”
Let us go and make our visit.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
mong the
smoke and fog
of a December
afternoon
You have the
scene arrange
itself—as it will
seem to do—
With “I have
saved this
afternoon for
you”;
And four wax
candles in the
darkened room,
Four rings of
light upon the
ceiling
overhead,
An atmosphere of Juliet’s tomb
Prepared for all the things to be said, or left unsaid.
We have been, let us say, to hear the latest Pole
Transmit the Preludes, through his hair and finger-tips.
“So intimate, this Chopin, that I think his soul
Should be resurrected only among friends