normative white spectator gaze. As Mulvey's essay contextualizes the (male) gaze and its objectification of white women, hooks' essay opens "oppositionality [as] a key paradigm in the feminist analysis of the 'gaze' and of scopophilic regimes in Western culture". The oppositional gaze remains a critique of rebellion due to the sustained and deliberate misrepresentation of Black women in cinema as characteristically Mammy, Jezebel or Sapphire. Postcolonial gaze First referred to by Edward Said as "orientalism", the term "post-colonial gaze" is used to explain the relationship that colonial powers extended to people of colonized countries. Placing the colonized in a position of the "other" helped to shape and establish the colonial's identity as being the powerful conqueror, and acted as a constant reminder of this idea. The postcolonial gaze "has the function of establishing the subject/object relationship ... it indicates at its point of emanation the location of the subject, and at its point of contact the location of the object". In essence, this means that the colonizer/colonized relationship provided the basis for the colonizer's understanding of themselves and their identity. The role of the appropriation of power is central to understanding how colonizers influenced the countries that they colonized, and is deeply connected to the development of post-colonial theory. Utilizing postcolonial gaze theory allows formerly colonized societies to overcome the socially constructed barriers that often prohibit them from expressing their true cultural, social, economic, and political rights. Male tourist gaze The tourism image is created through cultural and ideological constructions and advertising agencies that have been male dominated. What is represented by the media assumes a specific type of tourist: white, Western, male, and heterosexual, privileging the gaze of the "master subject" over others. This is the representation of the typical tourist because those behind the lens, the image, and creators are predominantly male, white, and Western. Those that do not fall into this category are influenced by its supremacy. Through these influences female characteristics such as youth, beauty, sexuality, or the possession of a man are desirable while the prevalence of stereotypes consisting of submissive and sensual women with powerful "macho" men in advertising are projected. See also References Further reading Armstrong, Carol and de Zegher, Catherine, Women Artists at the Millennium. MIT Press, October Books, 2006. de Zegher, Catherine, Inside the Visible. MIT Press, 1996. Ettinger, Bracha, "The Matrixial Gaze" (1995), reprinted as Ch. 1 in: The Matrixial