1)Many of the articles we’ve read discuss the idea of “spectatorship” either implicitly or explicitly. Why is identifying the assumed audience an important concept or thought in terms of cinematic theoretical thought? From the texts you’ve read, come up with your own theory of Spectatorship – who do we ASSUME is the audience today? Discuss why defining the spectator is important in cinematic theory, and then, using 3 reference articles from class to cite from, come up with your own theory of spectatorship, meaning who do YOU assume is the dominant eye or audience right now. For an agile feminist critic, how do you find it most helpful to define the assumed spectator? Were you going on to develop your own treatise of feminist theory, what would be this baseline spectatorship you would want your readers to grapple with, assume, and WHY?Remember that do not need to AGREE with the critics you cite (you can reject Mulvey for example, but do so demonstrating an understanding of her argument), or you can define a SPECIFIC spectatorship for a specific body of work (What is the negotiated stance of young female viewers watching Young Adult content on Netflix?). OR you can take the articles, think hard on who we assume audiences to be now, and ask how women are placed within that audience TODAY. Do we still assume a white patriarchal audience? Have our assumptions changed, and if so, how does that affect the female spectator?2) Now, time to get on your soapbox. Perhaps building from this evolved contemporary theory of Spectatorship, begin to evolve your own theory of film feminism (or an angle of it) in 3-5 paragraphs.