Even though Mulvey makes some intriguing points about how psychoanalysis affects how gender is perceived in regards to looks, his writing is restrained and one-dimensional in relation to Constance. Penley's article, “Feminism, Film Theory, and Single Machines” (1985). Penley begins by focusing on the idea of ​​the "bachelor machine": a practice used between approximately 1850 and 1925 where "many artists, writers, and scientists constructed, imaginatively or in real life, anthropomorphized machines to represent the relationship of the body to the social, the relationship of the sexes to each other, the structure of the psyche or the functioning of history. It is a system in perpetual movement and self-sufficient which, as Michael de Certeau says, has the main characteristic of being “a man”. It also includes common themes such as "ideal time and the magical possibility of its reversal (the time machine is an exemplary bachelor's machine), electrification, voyeurism and masturbatory eroticism, the dream of the mechanical reproduction of art and artificial birth or resuscitation. » (Stam and Miller, 456-457). This leads Penley to discuss a similar theory, that of cinema as a device itself, which focuses on the same characteristics of the bachelor machine. This theory is discussed through the writings of Jean-Louis Baudry and Christian Metz, but Penley emphasizes that their work closes the door to essential questions about sexual difference. First, Penley informs his readers that, "in Baudry's Freudian terms, the induced apparatus (as a result of the immobility of the spectator, the darkness of the theater and the projection of images from a place behind the head of the viewer), a total regression to an earlier stage of development in which the subject...... middle of paper......" (Stam and Miller, 470). Penley's writings reveal some of the views presented by Mulvey in examining the complexities of the cinematic apparatus and why this theory also restricts the number of female spectators. These writings are only a beginning in the complex question of how gender affects the spectator. cinema and academics have constantly attempted to answer this question, they will continue to do so as long as women feel threatened by male domination Works Cited Stam, Robert and Toby Miller "Chapter 25: Feminism, film theory and. single machines (Constance Penley); Chapter 26: Visual Pleasure and Narrative Cinema (Laura Mulvey)." Film and Theory: An Anthology. Malden, Massachusetts: Blackwell, 2000. Print. Rear Window. Dir. Alfred Hitchcock. Perf. James Stewart, Grace Kelly, Wendell Corey. 1954. Paramount Pictures, Patron Inc., 1955. DVD.