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Andrew Dix

very easily becomes second nature. However, this Nature does not sit easily and shifts restlessly in its borrowed transvestite clothes’ ( 1989 : 33). Where transvestism offers Mulvey a resource for conceptualising female spectatorship, masquerade fulfils this function for Mary Ann Doane. In ‘Film and the Masquerade – Theorising the Female Spectator’, an important essay first published in Screen in 1982, Doane utilises feminist work on the performed quality , rather than biological rootedness, of femininity. To think of this gender performance in terms

in Beginning film studies (second edition)