British feminist film theorist Laura Mulvey uses psychoanalysis to show pre-existing "patterns of fascinations" (Mulvey) with sexual differences in society that are represented through film. She says in her article “Visual Pleasure and Narrative Cinema” that there is a structured cinematic form that fuels a patriarchal order due to social models based on fascinated subjects: women. Drawing on Freud's Three Essays on Sexuality, Mulvey argues that cinema allows for many pleasures, and one of these pleasures is scopophilia, or the love of watching, because there is pleasure in watching in no longer being looked at. Cinema provides an amazing outlet for this scopophilia because it gives the pleasure of watching something pleasant on screen and scopophilia is a narcissistic aspect because the audience will identify with a character on screen. With the patriarchal structural form in place as well as the scopophilia present in the films, this leads to the main idea of ​​Mulvey's article:; that Hollywood films use women to create a pleasurable experience for men. In the films Mulvey studies, women are merely objects to be looked at, never the main driving force of the plot. Budd Boetticher said it well when he said: “What matters is what the heroine provokes, or rather what it represents. It is she, or rather the love or fear that she inspires in the hero, or even the concern that he feels for her, which makes him act as he does. In herself, the woman has not the slightest importance. (Mulvey) This really highlights the fact that in films of this era, women were objectified and the look at these women was the only significant part of them in the film. This look can be broken down into three main parts. The first of these sections is middle of paper......who can give him and Dorothy gifts (hopefully diamonds) for strong, attractive men. Additionally, neither girls' wardrobes are all that revealing in that they were almost modest, although beautiful. One of the reasons for their ability to subvert the male gaze is their strong bond with each other. They are connected and protect each other. They “accept neither the social powerlessness of women nor the imperative of priority allegiance to men”. This is true in that throughout the film they go out of their way to help each other in ways that their men might get hurt. Lorelei pays the butler so a rich young man can sit next to Dorothy (she didn't know he was a child and that a detective was watching her) and Dorothy essentially abandons a man she loves because he wanted to hurt her. Lorelei (even if he ended up taking his side).