In contrast, we are witnessing an active male position - they save the world, change the course of events and, of course, without hesitation, look at the female parts of the body, and the camera, "playing along" with this action, demonstrates how to consider a woman as an object of sexual pleasure. It is the camera that plays a critical role here. According to the apparatus theory of Jean-Louis Baudry, we know that the primary identification of the audience is based on the camera's gaze. So in a patriarchal society, where almost all places in the movie industry are occupied by men, the camera becomes a substitute for the male gaze. As a result, a mechanism for the ideological representation of the female image.
Thus, Laura Mulvey, in her work, leads to the radical conclusion that all classical cinema represents the dominant patriarchal view and consolidates its structures. She explains this by the fact that in the narrative of Hollywood films, the focus is not only on the male hero, but a priori it is assumed that the viewer will be a man, or the viewer is encoded as a man. The so-called fetishistic scopophilia establishes the beauty (in its physical manifestation) of a woman as an object, thereby this object itself becomes the embodiment of pleasure.