In this podcast, Carmel Cedro and I discuss the female gaze. Topics include: the difference between a male gaze and a female gaze; the importance of this gaze in popular cultural texts; the potential for a fluid female gaze; and the representation of sex, desire and eroticism in contemporary screen media. This podcast ended up being a double episode because we just had so much to discuss! We hope you enjoy it x
Declarations of ovary explosion, uterus throbbing, and being ‘PREGNANT, LITERALLY PREGNANT!’ are part and parcel of the online fangirl lexicon. These ecstatic utterances often refer to the enjoyment experienced at the sight of a text’s handsome protagonist in a state of undress, or doing something completely adorable like weeping silently by a campfire about his lost love a la Jamie Fraser of “Outlander”.
These declarations of fangirl feeling are also present in non-heterosexual representations of love, sex and desire, and I’ve noticed this happening particularly in relation to both slash and femslash fictions. Within the imaginary zone, women viewers and readers have crafted a language that allows them to speak with one another about their erotic imaginations, sensuous responses to fantasy, and their sexual desire.
Wherever this energy is directed, whatever object it takes, fangirling is so belittled because it is an often unruly expression of women’s desire, which patriarchal culture regards with contempt. Because patriarchal culture is dedicated towards fulfilling the needs, desires, and agendas of men, women are given far less space to articulate anything that challenges this prioritised language of desire. The unruliness suggested by coupling women’s pleasure with words like explosion, throbbing, pulsating, dancing, smouldering etc., gives this fangirl language a resistant edge that creates an alternative space of articulation. Resisting cultural prohibitions against women expressing desire (because it makes you look like a slut, because it’s not feminine, because it speaks of a desire that patriarchal culture does not approve of/want to fulfil and so on), this online communication seems to be looking for ways to push against or exceed the bounds of acceptability. I think this is why the language is so gleefully excessive, aggressive, playful, exuberant, and celebratory. It provides an oppositional counter to the idealised feminine sexuality that is demure, compliant, accommodating, and secondary to male desire. It puts women’s desire and a female gaze front and centre, without shame, and allows us to express things that ordinarily go unsaid.