n spectacle but rather take on a double identification with the image. The female spectator can both see the female spectacle in a scopophilic manner as well as identifying with the image. As the female spectator brings her understanding of herself as a spectacle to her identification with the spectacle on the screen she begins to identify with the female protagonist. Woody Allen's The Purple Rose of Cairo highlights Mayne's point as his female protagonist repeatedly visits the picture theatre watching a movie over and over again. She narcissistically over-identifies with the female lead in the film, and assumes the position of the male spectator assuming a voyeuristic gaze on the male protagonist. Eventually the characters enter her reality and she becomes consumed by the spectacle, becoming a spectacle herself. This can be also seen in the two 'women's films' I have analyzed in the following text. In both Howard Hawk's Gentlemen Prefer Blondes and Sharon McGuire's Bridget Jones Diary, we can see the female protagonists exploring the idea of themselves as spectacle in order to achieve their desires. [Mulvey, 1992; Kaplan, 1983; Mayne, 1993.]
             Bridget Jones Diary offers the female spectator a narcissistic misrecognition with the female protagonists desires as she struggles with the postmodern patriarchal system. Women's struggle with the patriarchal system and the postmodern ideals of the female breadwinner are highlighted by McGuire through the character of Bridget Jones as she attempts [and fails] time over to achieve her desires - to have a good career and ultimately, to fall in love. The female spectator is given the opportunity to identify with Bridget as she struggles to achieve the desires of both herself and those of the s
             ...