American Artist Cindy Sherman (born in 1954) plays around with her photographs that “depict herself dressed and made up as different female characters”. Her photographs can often be shown as feminist art as he works can raise questions regarding the objectification of women through the “male gaze” and how females as a gender can be constructed.

Cindy Sherman’s perspectives can be carried out into the famous essay written by Laura Mulvey. Laura’s perspectives can be explained in the “subconscious way we see women” and how they can be seen and examined in Hollywood movies from the 1930s to the 50s.

Laura “argues” that the interpretation of women in these Hollywood films can give a perspective through the objectification of the female body.

Speaking from her perspective films being produced in those ears can even more reinforce ideas of portrayals of women and things to be looked and presented for the pleasure of men.

Image Analysis

• In this photograph the subject is in the centre of it. The female come across as vulnerable, afraid of something in front of her and very upset as the females tears are highlighted/bold and are clear to see. The female also appears to look abused and it looks like she has “bruises”/marks on her face. It may be a combination of smudged and wet makeup dripping down her face as well as marks on her face, this photograph and the subject can bring up themes of 1950-60s housewife. Half of the face is split (“split lighting”) representing this unknown element : is the woman in the image being abused? is her husband behind the photograph?
• Half of her face appears to be beaten and worried whereas the other side as well showing these qualities is hidden but the features are still visible a bit potentially showing the idea that despite her abuse and hurt being hidden away, it is still there despite how much she may want to try hide it away/ignore it. The image can be examined and portrayed in many ways as it’s most left to the imagination as there is no description especially with the factor that Cindy Sherman name it “untitled” (not labelling it meaning it being unknown/secretive and a mystery).
• In the background of the photograph it appears to be a white background with two closed windows both pitch black when looked through.
• The photograph is black & white as well most if not all of Cindy Sherman’s “untitled stills”. This element of monochrome editing adds to the effect of sadness/damage and weakness.

“The only purpose of women is to represent an object, they carry no real meaning or have any importance on their own.”

Cindy Sherman’s series of “Untitled Film Stills” are reminiscent of the movies from the 1930s to 1950s. They outline her as she “portrays” stereotypical women in different roles with the use of costumes, makeup and wigs”.  In these different poses she poses to imitate the portrayal of sexualised and passive women that comply with those fantasies. Some of her other artworks can present women lying in a passive position often seductively presenting their bodies in bodies or dressed in feminised like outfits. The way the images are classed in an art context instead of cinema as well as Cindy’s active role in them presents that these images highlight the critism against the male gaze. Whether she was the one to release the camera’s shutter or not, Cindy is considered the author of the photographs. The “Untitled Film Stills aren’t considered to be self-portraits.

These various and general female film character can be described as:

• Ingenue (innocent or unsophisticated young woman playing in a play or film)
• Working girl
• Vamp
• Lonely housewife