After putting up the posters, I was curious to see what would happen next. Would people scan the QR code? Would someone find the project on Instagram? Would there be messages, comments, questions, anything?
Spoiler: not really.
I had imagined that once the posters were in the public space, they might trigger a second layer of interaction, maybe something that moves the project beyond the physical and into the digital. The QR code was meant to be that bridge. But in reality, that bridge was barely crossed. A few scans here and there, no noticeable Instagram engagement. Mostly silence.
To be fair, it makes sense. People don’t usually stop and scan QR codes in the street, especially if they’re not immediately clear or inviting. And while the posters were visually striking, they weren’t screaming for attention in the way commercial advertising does. I didn’t want them to. But it also meant they stayed within that subtle space which was too quiet maybe, for interaction.
This isn’t a bad thing, it is a learning.
Visibility doesn’t equal engagement. Just because something is seen doesn’t mean it sparks action. And just because someone walks past a poster doesn’t mean they’ll take out their phone, scan a code, and follow the project. It requires more: more friction, more curiosity, more clarity or maybe even more provocation. If I would do it again, I would rethink the QR strategy entirely. Make it more present, more tempting. Maybe even confusing or funny enough to trigger a response. The posters asked questions, but the QR code didn’t. It was just there, passively waiting.
The experiment still feels valuable. It reminded me that communication design doesn’t end with the object. It continues or fails in how people relate to that object and thats actually the really hard thing to find out. And how much effort we expect from an audience that is actually just trying to get from A to B.
I put up the posters in areas close to my home, places I walk by often and that are pretty central. The idea was to stay in proximity so I could later observe reactions, but also to choose spots where I knew the posters wouldn’t be removed immediately. Somewhere visible, but stable and often next to other posters.
The actual act of putting them up felt surprisingly awkward. It was just me, the posters, and a roll of tape. Even though it was legal and harmless, I felt hyper-aware of being watched. I caught myself thinking: What if someone asks me what I’m doing? What if they think the posters are badly designed or too shallow? What if they just don’t take it seriously?Or if I even like my own project? If it is worth to be put up in the streets That inner voice was unexpected. I believe in the project, but standing there with tape in my hand made me suddenly doubt everything.
Reactions in the moment were minimal. No direct confrontations or dramatic responses. Still, there were subtle moments of people slowing down a little, looking for a second longer than usual. One or two seemed to take in the message, even if briefly. Of course, part of me was hoping for a stronger reaction. Maybe someone engaging with it critically, or even aggressively. something that I could point to as “impact.” But that’s rarely how it goes.
Looking back, I think the strength of these posters might lie in exactly that random space inbetween: creating small interruptions. A moment of irritation. A tiny nudge. Not a confrontation, but a small question to ask oneself; just enough to make someone think about it, even if only for a second and maybe that’s enough for now.
As part of my ongoing Gendered Space project, I recently created a small Instagram page: @gendered_space_project
The idea behind it was simple, I wanted a space to share fragments of the work, especially the posters and the short phrases that emerged from interviews, observations, and everyday moments. But in practice, putting this work online felt more complex than expected.
The posters deal with how people, especially those perceived as female, navigate public space and how they make themselves visible or invisible. And posting them on social media felt like a continuation of that question: how much space do I allow myself to take up online?
Even though this is part of the research, I found myself hesitating. I overthought what to post, how to phrase things, whether something might be “too much” or “too direct.” There was a sense of vulnerability, a little bit the kind you feel when you say something out loud that you’ve always just quietly thought. And that hesitation is exactly what the project is about.
This tension between wanting to say something and being afraid of saying too much again shows so much of gendered behavior. We learn to be polite, subtle and to make room for others. And those rules don’t stop when you open Instagram.
So the Instagram page is part of the research and exploring itself. On it, I’m sharing picgures/ photos of the posters and short phrases like: “Machst du dich kleiner als du bist?” “Das schickt sich nicht.” “Nimm es doch als Kompliment.”
These are not simply slogans, they’re real sentences I’ve heard or collected during my conversations. They capture the ways in which people are told to behave. I pulled these sentences out of context and place them into public space physically and digitally and I’m actually curious to see what happens. Will people recognize themselves? Will they respond or ignore?
The posters will be installed soon in semi-public places, each one with a QR code leading to the Instagram page.This will help me collect actual real life feedback from real life. I’m not expecting viral reactions, as it is not a big project of course but I’m looking for small, meaningful responses. Or even silence which is a response too.
Creating this account turned out to be another small act of “taking space.” Not loud but honest and part of the process.
This blog post is part of my early research for the Gendered Space project. But I just finished those interviews and wanted to share some of the recurring themes and personal reflections that came up in the beginning of the semester but also now. The project itself is still evolving but these conversations already gave me a lot to think about, and they’re definitely shaping how I move forward visually and conceptually.
What stood out most were not dramatic incidents, but small, repeated behaviors and things that we often don’t even notice ourselves: stepping aside, waiting our turn, not interrupting, sitting small.
Internalized Behavior
Many people (people perceived as female) I spoke to described how their relationship to space (especially inpublic space) has been shaped since childhood. Expectations like “be polite,”“don’t talk back,” or “be nice” are still a thing in adulthood.
“I think it’s in us from the beginning. As girls, we’re told not to talk back, to be respectful. That’s just the default.”
This idea came up a lot: how deeply certain behaviors get embedded. One person even said:
“Even if I woke up as a man tomorrow, I think I’d still let people speak over me. That’s just how I’ve learned to exist.”
It made me think about the blurry line between personality and conditioning and how hard it is to unlearn something that feels like second nature.
Where It Shows Up
The situations people described were strikingly similar. Most of them weren’t “big moments” just the daily, automatic negotiations we make to keep the peace, avoid conflict, or not take up “too much” space.
Some recurring examples:
Sitting tight while the man next to you spreads his legs across half the bench.
Feeling the need to step aside on the sidewalk — even when you technically have the right of way.
Being interrupted or talked over, especially in mixed-gender groups.
Stopping mid-sentence so someone else can take over.
“It’s not even aggressive most of the time,” one participant told me. “It’s just assumed. Like, of course I’ll be the one who moves.”
Why This Matters for the Poster Series
These kinds of insights are exactly what I want to translate into the Gendered Space poster series. As I said in previous posts, the project is not about visualizing big protests or loud rebellion it’s about quiet defiance, everyday reversals.
So I’m working with scenes where women take up space deliberately: spreading out, staying still, not flinching, not moving aside.
Through limited settings and gestures, I’m trying to make this internalized choreography and reinforced genderroles visible and gently disrupt them.
How do you design a poster that provokes in a subtle yet effective way? Rather abstract, direct, zoomed in, with bold taglines or just the photo itself?
The drafts above are a few examples of how I tried different ways of designing one of the posters. I knew that I wanted to leave the focus on the photo and mainly letting it speak for itself.
Generally, I think it’s really about balancing what you show and what you hold back, how much clarity you give and how much you leave open. There are so many ways to go about it.
You could use abstract visuals like shapes, colors, lines that hint at something without spelling it out, and therefore leaving space for people to interpret. Though, for this project I wanted to go bold and direct, with the striking photo that makes people stop and look. Zoomed-in details are super interesting too, focusing on textures, gestures, or small moments that pull you in closer.
Then there is Typography which can always make a huge difference in how posters are perceived. A strong tagline or bold text treatment can really push the vibe, adding something sharp, funny, or unexpected to the visual. Also, playing with scale, contrast, and negative space helps guide the eye and keeps things intentional, not messy. Colors matter too: muted tones can create a quiet tension, while bright contrasts make everything pop louder.
In my own work, I tried out a mix of these approaches. I also played with framing and composition, sometimes centering the subject, sometimes hiding parts, sometimes making it a bit awkward or staged on purpose.
At the end of the day, designing something provocative isn’t just about shocking people. It’s about creating a feeling, using design choices to challenge the viewer and make them react; maybe without even knowing why.
-> And I will maybe see that once I put the posters outside.
A little side excursion about a very interesting talk I heard at the OFFF Festival in Barcelona.
Anna Ginsburg – a motion/graphic designer who inspired me through her approach of innovative and artsy aesthetics combined with important topics and insightful ideas. This is what the internet says about her: Anna Ginsburg is a British director and animator known for her distinctive, hand-crafted style and her ability to combine bold visuals with powerful social messages. Her work often explores themes like gender, identity, and body image, using a mix of traditional animation, live action, and illustration. Ginsburg is especially celebrated for projects like Private Parts and Ugly, where she collaborates with other artists to create honest, thought-provoking stories that challenge stereotypes and open up conversations around complex topics.
Anna Ginsburg’s talk was really inspiring to me, especially in the context of this semester, which is all about exploring. I often struggle with starting a project from scratch as I want to explore something meaningful and also stay true to my own style. Sometimes I’m unsure whether my way of working fits with serious or important topics. I often ask myself: is this too artsy to be taken seriously? Can something that looks a certain way still carry real meaning? Anna showed that it absolutely can. She talked about how her projects often deal with themes like gender, identity, and body image. And she does it not because someone asked her to, but because these topics are genuinely important to her. That really resonated with me. It reminded me that media and communication design don’t have to be distant or purely functional to fit a wish of clients who do not know anything about design anyways; they can be emotional, personal and driven by values.
I sometimes question the meaningfulness of this field, but her work showed me that creating awareness, encouraging conversation, and making space for underrepresented topics is incredibly relevant. It also made me think about collaboration in a new way — how working with others who share your beliefs and want to make a difference through creative work can be just as meaningful as the end result itself.
After choosing a few scenes that would portray the topic in a good way and get the message across, I lent a camera of a friend, asked Fiona and Angelo if they could model for me, and met up in the city. (Thank you !)
In this blogpost I would like to reflect on the process of taking the pictures as it is the perfect mirror of how you feel as a woman taking up the space in ways you normally don’t. For me, being the photographer it was probably not the same as being in front of the camera, but even I felt the slight discomfort of taking up this much space in public combined with the attention anxiety you get anyways when being outside with a camera.
This discomfort obviously speaks to something deeper: the internalized expectation that women should be small, quiet and unobtrusive in public spaces. Taking up space, whether physically by posing or creatively by directing a shoot, challenges that conditioning. The act of being visibly intentional in a space and claiming it without apology can feel transgressive, even when it’s something as simple as holding a camera or standing still for a portrait. It’s not just about the gaze of others but also about unlearning the instinct to minimize ourselves.
When I asked Fiona how she reflects on the photoshoot, she told me that it was definitely out of her comfort zone because the body language she had to show wasn’t usually hers, and ” it felt uncomfortable knowing people were watching. At first, I thought doing it in a public space like the main square might look cooler, but when it actually came to it, I realized how exposed and nervous I felt. We ended up doing it more hidden, and the photographer was really considerate throughout. Some poses, like in the tram, felt natural, but others like near the falafel shop or when I had to lower my pants made me feel embarrassed because it’s just not how I would normally behave in public. Overall, it really pushed me beyond what I’m usually comfortable with”.
Doing projects like this is really valuable for me and maybe others because they let us try out new ways of being seen and taking up space. It’s a chance to step outside of what feels normal or comfortable and see how that changes how we feel. I’m really curious to see what it will be like once the posters are hanging in public — how people might react, but also how I will feel seeing them there. Even now, the process has already made me think and feel differently, and I’m excited to see what happens next.
Like I already started to describe in my first blogpost, I’ve started to think more deeply and curious about the concept of space; whether it is physical, visual or social. In many ways, space is not neutral. Who gets to take up space, who is expected to shrink and be small, who is heard, and who goes unnoticed is often shaped by power structures such as gender.
Feminist theorists like Iris Marion Young have written about how women are socialized to “keep their bodies small,” like sitting with crossed legs or just avoiding taking up too much room in daily life. In her essay “Throwing Like a Girl” (1980), she discusses how even the most everyday gestures reveal how we internalize social expectations about gender. While men are encouraged to expand, to stretch, to claim their environment, women (or more precisely, those who are read as female in public) are taught the opposite: to shrink, to protect, to avoid confrontation – and to obey.
This tension between visibility and invisibility, between expansion and restriction, forms the basis for my idea generation and concept. I want to explore moments of subtle protest: Reversing these everyday dynamics that happen not through big slogans or raised fists, but through posture, looks and presence.
Here are some ideas I have thought of for possible (animated) poster scenes:
Manspreading on public transport → A woman confidently spreading out while others adapt around her // I have used this example in my blogpost before and I think it is a concept that is known too many at this point. It describes the way how men often sit or stand while taking up too much/ stealing public space from other people in their surroundings, often people perceived as female (Bertrand, 2018).
On the street, women are the ones who step aside → A Woman keeps walking straight while a man has to move // This imbalance of public norms of society where a man does not need to bother, has been known for quite a while as it was already discussed by Iris Marion Young in 1990 where she implies that Women are often physically and socially positioned in such a way that taking up space or asserting physical presence is discouraged.
In restaurants or meetings, people only speak to the men → Waiters or colleagues only address the woman, ignoring the men // This is related to the Hepeated concept where men get credit for the work women has done which has happened and shaped history since the beginning of time (Serrano, 2022). For my poster I want to show the subtle signs in daily life where people tend to rather speak with or look at the men than the women.
Men throw their arms over others’ chairs without hesitation → A woman doing the same, owning the shared space // This idea has the same origin than the manspreading idea in public transport, just with the arms.
Public spitting or peeing seen as normal for men → A woman unapologetically peeing in a public space // Men can pee anywhere and it is socially accepted (Even though many people do not like to see it, it is still okay and not called out when someone does). This is another example of how society controls women by them always having to rely on public restrooms in public spaces (Feminist Fightback, 2020).
Women covering up with a sweater to avoid being looked at → Man wearing a crop-top without discomfort or sexualization.
Men standing with hands on hips ; confident stance → Women using strong postures unapologetically.
Men taking central space at sports events, yelling and performing → A group of women in full control of the moment, loud and unapologetic // This is a reflection of how patriarchal norms encourage male visibility, entitlement, and expressive freedom in public spaces, while discouraging similar behaviors in those read as female (Rail, 2025).
Men sunbathing shirtless in parks → A topless woman reading a book casually // This regards to the – for years – ongoing discussion about top nudity and how men can be topless in public and women’s breasts get sexualized and are not allowed to be shown (Equipe Madagascar, 2020).
Mansplaining / Being stared at → A woman overexplaining to a man, or staring at him without blinking // This is another situation that focuses on the silencing of women, with specific attention to the concept that some men seemingly believe that no matter what a woman says, a man always knows better (Solnit, 2025).
Being groped in public / catcalled → a woman catcalling a group of men, flipping the power.
Next Steps
For now, this is an idea pool I can draw from for the upcoming poster. I plan to choose 4/5 scenes to start with, especially ones that feel both relatable and visually strong. My goal is not to “reverse the roles” just for the sake of it or to encourage women to be egoistic in public spaces but to reveal how strange it suddenly looks when someone perceived as female takes up space without apology (and how strange it is that it even feels strange??) and to show that space (like almost all other things) should be equally distributed.
Maybe existing loudly in a space can be a protest too.
Sources
Bertrand, D. (2018). The rapid rise of online feminism: A symptom of the surfacing of a fourth wave? Réseaux, 208209(2), 232–257. https://shs.cairn.info/journal-reseaux-2018-2-page-232?lang=en
Equipe Madagascar. (2020, December 16). Free the Nipple, a highly controversial feminist movement. Sisters Republic DE. https://sistersrepublic.eu/en/blogs/der-blog-der-sisters/free-the-nipple-eine-hochst-umstrittene-feministische-bewegung
Feminist Fightback. (2020, June). The Political Urgency of the Public Toilet | Feminist Fightback. Feminist Fightback | Anti-Capitalist Feminist Collective. https://www.feministfightback.org.uk/the-political-urgency-of-the-public-toilet/
Rail, G. (2025). Sport and Postmodern Times. Google Books. https://books.google.at/books?hl=de&lr=&id=7KI1a6Z3ouYC&oi=fnd&pg=PA301&dq=men+and+sport+events+problematic&ots=dGpZWCX__A&sig=thPKMS5g5T1Hbt1bbeQE97GexHM#v=onepage&q=men%20and%20sport%20events%20problematic&f=false
Serrano, B. (2022, May 28). Hepeating: When a man takes credit for what a woman already said. EL PAÍS English. https://english.elpais.com/society/2022-05-28/hepeating-when-a-man-takes-credit-for-what-a-woman-already-said.html
Wikipedia Contributors. (2025, April 11). Men Explain Things to Me. Wikipedia; Wikimedia Foundation.
Young, I. M. (1980). Throwing like a girl: A phenomenology of feminine body comportment motility and spatiality. Human Studies, 3(2), 137–156. https://www.jstor.org/stable/20008753
Young, I. M. (1990). The People, Place, and Space Reader. Google Books. https://books.google.at/books?hl=de&lr=&id=b9WWAwAAQBAJ&oi=fnd&pg=PA247&dq=Urban+spatial+dominance+(Iris+Marion+Young).&ots=KX_xBJptA7&sig=xHrMLb6NDsm3h250ek5BjFyeOFQ#v=onepage&q&f=false
For the last few weeks, I’ve struggled a lot with idea generation for design & research this semester. As I had already researched the history and definitions of protest and feminist design in the first semester, I couldn’t quite figure out a way to explore protest without organizing a protest itself. That’s when I started to think about subtle protest and, on the contrary, about subtle inequality that has found its way into our society and isn’t questioned too much in our day-to-day life.
An example would be: Last week, I was on a fully booked train in Germany, sitting in the bike wagon. Right in front of me was a man sitting with his legs spread out to the sides. Next to him, on the left, sat a woman with her legs crossed, visibly uncomfortable with the situation. On the other side was a free seat—in the fully booked train. But nobody wanted to sit there because a man needed to take up space: the so-called “manspreading” (Merriam-Webster).
And I think a lot of women* can relate to this situation. It happens basically daily and is a subtle sign of how our society works. Men take up space, and women have to be happy with what’s left (Alonso, 2023).
Also, in that moment when I realized it, I tried to do the same—to sit in a way that takes up more space, shows confidence, and also kind of power. And when I did, it felt weird and unnecessary, and I had the feeling that the people around me gave me slightly weird looks when I put my arm on the rest of my chair and sat more with my legs apart.
For some reason, I could not even commit fully to it and only slightly sat more confidently, as it didn’t feel “right”—a feeling that a lot of women have when they are taking up too much space in a way. For too long, women have been conditioned to believe that confidence should be quiet, success should speak for itself, and self-promotion is just another word for arrogance (Saxena, 2025).
It is an internalized concept that comes from ingrained societal beliefs about gender roles and ensures that society continues to function as it is. Therefore, women* should be encouraged to refuse to shrink, take up space, and fight for a world where every girl grows up knowing her worth (Muselmann, 2025).
The Concept: That’s when I got the idea for a small, animated poster series. The series will show little snippets or photographs of daily life situations like the one described above—but the other way around. Women taking up the space they should own. I want to explore whether it can feel natural, how people react to it, and whether it might even change how I behave in some way.
*In this blog post, I mostly refer to “women” when discussing experiences of inequality and everyday sexism. However, I want to clarify that I am specifically addressing the experiences of people who are read or perceived as female in public spaces. This includes not only cis women, but also many trans, nonbinary, and gender-nonconforming people who are treated according to societal expectations placed on femininity. These dynamics often affect individuals based on how they are externally perceived, regardless of their gender identity, and this post aims to speak to those shared experiences under patriarchal structures.
In this blog post, I want to explore the portrayal of feminism in pop culture, with a particular focus on how it is utilized within communication design and visual media. Specifically, I will look at the two major perspectives: the “Male Gaze” and the emerging concept of the “Female Gaze, which are also trending and often used in social media (twssmagazine, 2022). Is the increasing presence of feminist themes in pop culture a genuine allyship or merely an opportunistic exploitation?
Pop Culture and Feminism
Pop culture has undeniably contributed to the visibility of feminist ideals. From blockbuster films featuring strong female protagonists to high-profile ad campaigns promoting women’s empowerment, feminism seems to have become a marketable trend. For instance, movies like Wonder Woman or campaigns such as Dove’s “Real Beauty” aim to celebrate women and challenge outdated norms (Danziger Halperin & Mellon, 2020). However, this visibility often comes with strings attached. The question remains: Are these portrayals genuine efforts to support gender equality, or are they commodifying feminism for profit?
Allyship: In its best form, pop culture can amplify feminist voices, educate audiences, and foster meaningful discussions. Campaigns that challenge stereotypes or highlight intersectional struggles contribute to a broader understanding of gender equality.
Exploitation: On the flip side, the co-opting of feminist themes without substance risks reducing a complex movement to a mere aesthetic. Terms like “femvertising” describe how companies use empowerment messaging to sell products without enacting meaningful change within their organizations or society at large and therefore uphold gender binaries (Le, 2022).
Decoding the Male Gaze in Visual Media
The “Male Gaze,” a term popularized by film theorist Laura Mulvey in 1975, refers to the depiction of women in media as objects of male desire (Sassatelli, 2011). This perspective dominates much of visual media, from advertising to movies, shaping how women are portrayed and perceived. In communication design, this manifests in ways such as:
Objectification: Women are often shown as passive, decorative figures meant to appeal to heterosexual male audiences (Vanbuskirk, 2022).
Fragmentation: Advertisements frequently isolate parts of a woman’s body, such as her legs or lips, reducing her to a collection of desirable features.
Narrative Control: Stories in visual media often prioritize male perspectives, with female characters serving as supporting roles rather than autonomous agents (Jackson, 2023).
A classic example is the portrayal of women in perfume ads, where they’re often shown in submissive or hypersexualized poses, reinforcing traditional gender roles. When women, men, girls, and boys consistently see women and girls portrayed in such narrow and sexualized ways, it inevitably shapes their expectations, influences cultural norms, and affects how they understand their own identities (Vanbuskirk, 2022).
The Emergence of the Female Gaze
In contrast, the “Female Gaze” aims to reclaim agency and portray women’s experiences authentically. This perspective is not merely a reversal of the Male Gaze but rather a shift towards empathetic and nuanced storytelling. (Forster, 2019) Key characteristics of the female gaze are:
Agency: Women are depicted as active participants with complex emotions and desires, rather than objects to be consumed.
Subjectivity: The focus is on how women experience the world, showcasing their perspective rather than how they are viewed by others.
Empowerment: Visuals often challenge traditional norms and celebrate diversity in gender expression and body types.
Examples of the Female Gaze can be seen in films like Portrait of a Lady on Fire, which prioritizes female subjectivity and intimacy, or in campaigns like Aerie’s “#AerieReal,” which features unretouched images of diverse models to promote body positivity (Scateni, 2020).
Though, one could argue that #AerieReal is also part of a femvertising campaign. But how can one differentiate?
Navigating the Line within Feminism in Communication Design
For communication designers, the challenge lies in creating visuals that genuinely support feminist ideals without falling into the trap of superficiality (Cook, 2016).
Authenticity: Ensure that messaging aligns with meaningful actions. For example, if a company promotes gender equality in ads, it should also reflect that commitment internally through equal pay and diverse leadership (Alfaro-Ibáñez & Gallardo-Echenique, 2023).
Intersectionality: Feminism is not one-size-fits-all. Campaigns should consider the experiences of women across different races, classes, sexualities, and abilities (Sobande, 2019).
Avoiding Tropes: Challenge traditional stereotypes by portraying women in varied roles and narratives, moving beyond the binary of hypersexualized objects or virtuous caretakers.
Shifting the Gaze
As feminism continues to intersect with pop culture, its representation will remain a contentious issue. The concept of the Female Gaze is becoming a transformative force in challenging traditional norms. Inclusive and authentic advertising has the potential to reshape industry practices, offering a blueprint for meaningful allyship rather than superficial exploitation. While the commodification of feminist ideals is problematic, the potential to reach mass audiences and inspire change cannot be overlooked. By critically engaging with the Male Gaze and advocating for the Female Gaze, designers and creators can contribute to a more equitable and empowering media landscape (Rangles, 2023).
So, is feminism in pop culture allyship or exploitation? Maybe it’s both. The answer lies in our ability to differentiate between genuine efforts and hollow marketing—and to demand more from the media we consume and create.
Sources
Alfaro-Ibáñez, B., & Gallardo-Echenique, E. (2023). Femwashing or Femvertising? A Look at Advertising Authenticity. Atlantis Highlights in Social Sciences, Education and Humanities, 111–121. https://doi.org/10.2991/978-94-6463-254-5_12
Cook, E. (2016, April 10). 4 Femvertising Video Ads That Teach You How To Do It Right. Venture Videos; Venture. https://www.venturevideos.com/insight/femvertising
Danziger Halperin, A., & Mellon, A. W. (2020). Wonder Woman: Feminist Icon? | New-York Historical Society. Www.nyhistory.org. https://www.nyhistory.org/blogs/wonder-woman-feminist-icon
Forster, S. (2019, September 12). Yes, there’s such a thing as a “female gaze.” But it’s not what you think. Medium. https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed
Jackson, L. M. (2023, July 14). The Invention of “the Male Gaze.” The New Yorker. https://www.newyorker.com/books/second-read/the-invention-of-the-male-gaze
Le, C. (2022, March 26). Femvertising: How Marketing Can Uphold the Gender Binary. The Quirky Pineapple Studio. https://thequirkypineapple.com/blog/2022/03/26/femvertising-how-marketing-can-uphold-the-gender-binary/
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6–18.
Rangles, C. M. (2023). Female Gaze for Every Gaze. Google.com. https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.diva-portal.org/smash/get/diva2:1777975/FULLTEXT01.pdf&ved=2ahUKEwilqYfPnoeLAxVx-QIHHexuFxY4ChAWegQIExAB&usg=AOvVaw3qE4aSAfhUWI9YwqO9411f
Sassatelli, R. (2011). Interview with Laura Mulvey: Gender, Gaze and Technology in Film Culture. Theory, Culture & Society, 28(5), 123–143. https://journals.sagepub.com/doi/epdf/10.1177/0263276411398278
Scateni, R. (2020, February 26). How Portrait of a Lady on Fire celebrates the female gaze. BFI. https://www.bfi.org.uk/features/portrait-lady-fire-female-gaze
Sobande, F. (2019). Woke-washing: “intersectional” femvertising and branding “woke” bravery. European Journal of Marketing, 54(11), 2723–2745. https://doi.org/10.1108/ejm-02-2019-0134
twssmagazine. (2022, June 9). The Female Gaze: The Theory Behind the TikTok Trend. That’s What She Said. https://twssmagazine.com/2022/06/09/the-female-gaze-the-theory-behind-the-tiktok-trend/
Vanbuskirk, S. (2022, November 14). What Is the Male Gaze? Verywell Mind. https://www.verywellmind.com/what-is-the-male-gaze-5118422
