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There are a small number of films to which she dedicates extended discussions – Morocco (dir. Her interest in cinema covers a surprisingly narrow range, with an overwhelming emphasis on popular Hollywood cinema from around 1930 to 1960, melodrama (particularly the films of Douglas Sirk and Rainer Werner Fassbinder) and, more recently, Iranian cinema. Increasingly her work has reflected her interest in death and the Freudian compulsion to repeat. These include photography (particularly ideas of stillness and delay) and contemporary art (with an emphasis on women artists and artists who could broadly be described as “postmodern”). A number of other broad areas are of obvious and continuing interest to Mulvey. Most obviously these include feminism and psychoanalysis, and it is these two branches of twentieth- century thinking, alongside Marxism, that most consistently inform her philosophical approach to film and art. Mulvey’s work has been overshadowed by this single piece of youthful polemic (the author was in her early thirties on publication) but “Visual Pleasure” does highlight issues of concern that continue to run through her subsequent work. It is clear that the most iconic of Mulvey’s articles is Visual Pleasure and Narrative Cinema, first published in Screen in 1975 (reprinted in Visual and Other Pleasures along with “Afterthoughts on ‘Visual Pleasure and Narrative Cinema inspired by King Vidor‘s Duel in the Sun (1946)”). Mulvey’s interests are broad, ranging from contemporary art to the introduction of sound in cinema, from Douglas Sirk to Abbas Kiarostami. Mulvey’s essay Visual Pleasure and Narrative Cinema (1975) has had a major impact on the course of film scholarship. She is the director of a number of avantgarde films made in the 1970s and 1980s, made with Peter Wollen and Mark Lewis. She is the author of Visual and Other Pleasures(1989), Fetishism and Curiosity (1996), Citizen Kane (1992) and Death 24x a Second (2006). 1941) is Professor of Film and Media Studies at Birkbeck College, University of London. Laura Mulvey, Male Gaze and the Feminist Film Theory