User:Magdalenetaylor/sandbox

Feminisms
Many scholars emphasize the relationship Cindy Sherman's work has with the concept of the gaze. In particular, scholars like Laura Mulvey have analyzed Sherman's Untitled series in relation to the male gaze. In a 1991 essay on Sherman, Mulvey states that ″the accouterments of the feminine struggle to conform to a facade of desirability haunt Sherman's iconography,″ which functions as a parody of different voyeurisms captured by the camera.

Others question whether this confrontation with the male gaze and a feminine struggle was an intentional consideration of Sherman's, and whether this intentionality is important in considering the feminist standpoint of Sherman's photography.

Sherman herself has identified an uncertainty toward the Untitled series' relationship with the male gaze. In a 1991 interview with David Brittain in Creative Camera, Sherman said that "I didn't really analyze it at the time as far as knowing that I was commenting upon some feminist issue. The theories weren't there at all... But now I can look back on some of them, and I think some of them are a little blatantly obvious, too much like the original pin-up pictures of those times, so I have mixed feelings about them now as a whole series."

In addition to questions of the gaze, Sherman's work is also given feminist analysis in the context of Abjection. Scholars like Hal Foster and Laura Mulvey interpret Sherman's use of the abject via the grotesque in 1980s projects like Vomit Pictures as de-fetishizing the female body.

Scholar Michele Meager interprets Sherman as having been "crowned a resistant celebrity" to feminist theory.