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