aphy," this is the kind of viewpoint Trinh-Ha's film wants to change. She does this by destroying the visualpleasure derived from the images. Consider the fact that in Vertigo, Scottie's spying on Madeline is considered wrong, he must hide the fact that he is looking at her.In Trinh-Ha's film, she over exposes the viewer to so-called "erotic" images of women to destroy the magic and pleasure. There are shots of older women, wrinkled,bare breasted, and working. By bombarding the viewer with naked breasts, lips, mouths, and eyes the mysticism disappears. Whereas in Hollywood, the viewer is onlyallowed "stolen glances." In Trinh-Ha's film the male gaze is played upon to the point of excess, thus devoiding it of pleasure. In conclusion, Reassemblage is an example of a film that challenges common notions of visual pleasure as described by Laura Mulvey. Since there is no mediation ofthe "look" through the eyes of a male protagonist, knowledge is not gained through his presence. Furthermore, the look of the camera is not meant to disempowerthe woman and make her into a spectacle. Finally, Trinh Minh-Ha asks the viewer to question what visual pleasure is in relation to the female body. In her film,naked images no longer connote the "erotic." It is said that analyzing beauty destroys it, according to Mulvey, which is perhaps what Reassemblage wants. Yet, bothTrinh Minh-Ha and Laura Mulvey would argue that, for women, a new kind of pleasure lies in transcending these norms, which is beautiful....
