In the 1970s, film scholars developed the concept of the gaze to refer both to specific ways that viewers look at images of other people in visual media and to the gazes of those depicted within the images. Gaze theory attempts to understand what it means to view people and events through mass media. Two key features of the gaze are important to this goal. First, the object being gazed at (the person or people in the image) is not aware of the viewer. This makes the gaze voyeuristic, like an anonymous peeping Tom looking through a window into a house. The gazer knows what is going, on but the people in the house (or the image) do not know they’re being watched. Second, and because of the first point, the gaze implies a psychological relationship of power; the watching person has the power to scrutinize, analyze, and judge the watched people. The watcher can manipulate the perspective and conditions of watching. The watcher reserves the power to make sense of the image and to use the image however they please—for knowledge, pleasure, or criticism. British film theorist Laura Mulvey (1975) used the concept of the gaze to develop a feminist approach to film studies. The male gaze describes how men look at women through any visual medium and even in everyday life. Beauty culture in western Europe and the United States positions women as objects to be gazed upon by men (and other women). Media scholars argue that women come to view themselves through the gaze of others, particularly men, who evaluate the attractiveness and desirability of their bodies. Thus, rather than experiencing her selfhood directly, a woman’s self-image is routed through the male gaze. The concept of the gaze is also used to think about other sociocultural power relations, particularly the historical processes of imperialism and colonialism. In the colonial period, the desire for conquest motivated strategic ways of gazing at cultural others. Through forms of media and image making developed in the 19th and early 20th centuries, Europeans developed an imperial gaze, positioning themselves as viewers of non-Western peoples. In the visual practices of empire, such as surveys and documentary photography, the lands and peoples were scrutinized, subjected to the domineering eye of European colonizers. The depictions of non-Western peoples in National Geographic are current manifestations of the imperial gaze.