Feminist film theorist Laura Mulvey refuses to use classicism. He structures his film, Riddles of the Sphinx, through modernism. Mulvey believes that classicism is constructed for male pleasure. This attraction can be explained with the term scopophilia, the pleasure of looking. Society has limitations, but films can explore these desires according to Mulvey. It also expresses the desire for narcissism, to fall in love with oneself. Narcissistic visual pleasure can arise from self-identification, from someone's ego ideal. Mulvey integrates the structures of scopophilia and narcissism into the story as well as the imagery of her film, Riddles of the Sphinx.Laura Mulvey used psychoanalysis to understand the allure of Hollywood cinema. The two desires in us, scopophilia and narcissism, are suitable for cinema, but both desires do not come from the same person. Mulvey claims that if scopophilia were only cinematic, it would trigger fears of loss and helplessness. Mulvey has evaluated scopophilia in classical cinema. The structure of traditional cinema establishes the male character as active and powerful. The female character is passive and helpless. Classic cinematic narratives may present constructed images of a woman as natural, realistic, and attractive. This is the illusionism of classic cinema. Mulvey addresses the ways in which narrative and visual techniques in cinema make scopophilia an exclusively male privilege. Within the film's narrative, the male characters direct their gaze towards the female characters. The audience is led to identify with the male actor in the film. The intended audience for this type of film is heterosexual males. Mulvey focuses on visual pleasure in cinema with the concept of the mirror... in the middle of the paper... Luise's different voices, as well as those of her friends and colleagues. workers, brings an uncertainty of meaning to the film in contrast to the descriptive control associated with traditional voiceover. The slow and steady rotation of the camera is followed by a distorted voice-over that sometimes expresses Louise's thoughts. It also features other voices, such as that of her new friend Maxine. Mulvey's psychoanalysis of cinema and feminism was interpreted through various scenes in Riddles of the Sphinx. He attempted to use these different types of modernism shooting techniques to communicate his messages to the public. Mulvey wasn't worried about selling tickets for her movie "Riddles of the Sphinx." He wasn't trying to please everyone while making his movie. Mulvey was only interested in including what he wanted to communicate in his film and getting his point across to the audience.