This scintillating photo of war and sex depicts two women being filmed and objectified by three men, one involved in the scene and two as onlookers. In this picture, the two women have become mere works of art to be manipulated and documented which is denoted by their provocative poses. The focus is constantly on them as the audience’s eyes as well as the men’s eyes are on them, illustrating as Mulvey stated the “woman as image, man as bearer of the look…”All of the men are staring at the women as though they are simply commodities no different from a car or a house. The women seem either oblivious to the fact the they are being watched like the woman posing in front of the projector screen or relish in their status as sex objects as the woman standing over the entranced man does. In this picture as well as all of the “Make Love Not War” pictures, the women are displayed in some erotic pose that accentuates their sensuality. Eyes always sultry, lips always pursed in an orgasmic “o”, chest thrown out, “she is isolated, glamorous, a display, sexualized”. The photo explicitly introduces the pleasure of looking, scopophilia, denoted by the gawking soldiers, the projector screen, and the camcorder so that the scantily clad women can “connote to be looked-at-ness” as stated in Mulvey’s essay. In the photo, the center is never on the male, turning the males and the audience into spectators and the women depicted into “symbolic orders in which man can live out his fantasies and obsessions”.
