Mulvey identifies three ways of viewing women in film, which are done to specifically objectify women. The first way of looking is how the male character views and perceives the female character in the film. The second way of looking is how the audience views the female character in the film. The third way of looking is joining the two first looks together, which is actually the male audience view of the male character in the film. This third view allows the men in the audience to take the place of the male character in the film and objectify the female character, making her his personal sex object. This is easy to do for the male audience because they can relate with the male character in the film as well as with the male behind the camera.
Many think that by simply hiring more women in production and artistic jobs that this will miraculously solve the problem. In Laura Mulvey's The Male Gaze, she describes this in her article, saying that "it faces us with the ultimate challenge: how to fight the unconscious structured like a languagewhile still caught within the language of the patriarchy. There is no way in which we can produce an alternative out of the blue" (Laura Mulvey, 2009). It has become a norm in the industry and we have become immune to it, which as an audience most of us don't even pay attention to how much it's in our face. One of the big directors whose movies garishly depict the male gaze is Alfred Hitchcock. .
Voyeurism and scopophilia are extensively used in his movies specifically with the male gaze. The audience participates by watching and enjoy in the character watching. The pleasure and fascination of looking at the human form as well as the pleasure of being looked at is part of three essays on sexuality written by Sigmund Freud that further discusses how scopophilia is an important element in the instincts of sexuality which exist as it drives quite independently of the erotogenic zones.