# Annotation Summary of laura-mulvey-visual-pleasure-and-narrative-cinema-1.pdf. *Highlight [page 2]:* One is [[scopophilia]]. There are circumstances in which looking itself is a source of pleasure, just as, in the reverse ^cofzwzz *Highlight [page 3]:* formation, there is pleasure in being looked at *Highlight [page 3]:* Jacques Lacan has described how the moment when a child recognises its own image in the mirror is crucial for rhe constitution of the ego *Underline [page 3]:* he mirror phase occurs at a time when the child's physical ambitions outstrip his motor capacity, with the result that his recognition of himself is joyous in that he imagines his mirror image to be more complete, more perfect than he experiences his own body. Recognition is thus overlaid with misrecognition: the image recognised is conceived as the reflected body of the self, but its misrecognition as superior projects this body outside itself as an [[ideal ego]], *Highlight [page 3]:* which, re-introjected as an ego ideal, gives rise to the future generation of identification with others. *Highlight [page 4]:* is nostagicallyreminiscent of that pre-subjective moment of image recognition *Highlight [page 4]:* reating the imagised, eroticised concept of the world that forms the perception *Highlight [page 4]:* [[exhibitionist]] role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. ^3mwacph *Highlight [page 6]:* Thus the woman as icon, displayed for the [[gaze]] and enjoyment of men, the active controllers of the look, always threatens to evoke the anxiety it originally signified. The male unconscious has two avenues of escape from this castration anxiety: preoccupation with the re-enactment of the original trauma (investigating the woman, demystifying her mystery) *Highlight [page 9]:* obsessively subordinated to the neurotic needs of the male ego. The [[camera]] becomes the mechanism for producing an illusion of Renaissance space, flowing movements compatible with the human eye, an ideology of representation that revolves around the perception of the subject;