Although Mulvey makes some intriguing points about how psychoanalysis influences how gender is viewed in relation to appearance, her writing is limited and one-dimensional in comparison to Constance Penley's article, "Feminism, Film Theory, and the Bachelor Machines" (1985) begins by focusing on the idea of ​​the "bachelor machine": a practice used from about 1850 to 1925. numerous artists, writers and scientists, in imagination or in reality, built anthropomorphized machines to represent the relationship of the body 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". It also includes common themes such as "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 ". (Stam and 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 a previous stage of development in which the subject has... paper... double difference." Furthermore, introducing the concept of fantasy, Penley states that "the analysis of the film, moreover, from the point of view of the structure of the fantasy, presents a more accurate description of the spectator's changes and multiple identifications and a more complete account of these same movements within the film: the ever-changing configurations of the characters, for example, are a formal response to the unfolding of a fantasy that is filmic fiction itself. Thus, Penley's final sentence states that “the feminist use of the psychoanalytic notion of fantasy for the study of cinema and its institutions can now be seen as a way to constructively dismantle it. the bachelor machines of film theory (no need for Luddism) or at least modifying them in accordance with the practical and theoretical needs of sexual modernity” (Stam and Miller, 470-471).