Although Mulvey makes some intriguing points about how psychoanalysis influences how gender is viewed regarding appearance, her writing is limited and one-dimensional compared to Constance Penley's article, "Feminism, Film Theory and Bachelor Machines" (1985). Penley begins by focusing on the idea of ​​the "bachelor machine": a practice used around 1850-1925 in which "numerous artists, writers, and scientists, in imagination or in reality, constructed anthropomorphized machines to represent the body's relationship to society, the relationship between the sexes, the structure of the psyche or the functioning of history”. It is a perpetually moving and self-sufficient system which, as Michael de Certeau states, has the main characteristic of “being male”. "an ideal time and the magical possibility of its reversal (the time machine is an exemplary machine for bachelors), electrification, voyeurism and masturbatory eroticism, the dream of mechanical reproduction of art and artificial birth or reanimation". Miller, 456-457).This leads Penley to discuss a similar theory, that of the cinema as an apparatus itself, which focuses on the same characteristics of the bachelor machine. This theory is discussed through the writings of Jean-Louis Baudry and Christian Metz, but Penley points out that their works close essential questions about sexual difference. First, Penley informs his readers that, “in Baudry's Freudian terms, the apparatus induces (as an effect of the spectator's immobility, the darkness of the theater, and the projection of images from a place behind the spectator's head ) a total regression to an earlier stage of development in which the subject has… paper…” (Stam and Miller, 470). why this theory also limits female audiences. These writings are but one dent in the complicated question of how gender affects the viewer. As film critics and scholars have consistently attempted to answer this question, they will continue to do so women will feel any kind of threat of male dominance. Works CitedStam, Robert and Toby Miller “Chapter 25: Feminism, Film Theory, and Bachelor Machines (Constance Penley); Chapter 26: Visual Pleasure and Narrative Cinema (Laura Mulvey)." Film and Theory: An Anthology. Malden, Mass.: Blackwell, 2000. Print. Rear window. Dir. Alfred Hitchcock. Perf. James Stewart, Grace Kelly, Wendell Corey. 1954. Paramount Pictures, Patron Inc., 1955. DVD.