ABSTRACT
Gaze is neither natural nor apolitical. The way one looks and what one looks at carries high cultural and political dimensions. Men's privilege to look at women and 'see' them also gave them the opportunity to look at female body as they desired and the freedom of Speech (expression) gave men the privilege to portray women as they wanted to see women. The chapter explores what changes can be there in a cinematic narrative if the person behind the camera is a female. It discusses how psychoanalysis from on psychoanalysis from a theory to understand human psyche became a tool of socio-cultural politics either in the hands of theoreticians or creative minds – in this case a film maker. The relationship between psychoanalysis and films goes back to the last decade of the 19th century. Both, psychoanalysis and films, were said to be born together.
