Clifford T. Manlove (2007), critiques the work of Laura Mulvey as regards the gaze:

Manlove's analysis, foregrounding the work of Hitchcock, following a history of many academics who have critiqued, and developed, Mulvey's seminal work (see further below), emphasises a radical split in the apparently active subject. This reveals a sense of ambivalence and dualism, in framing male patriarchal order as controllers of the gaze. Women, or queer men, may be beholders of the gaze, revealing an imagined reversal of the subjectivity.

For example Richard Dyer ([1989] 2000: 124) cites a television advertising campaign for Levi's denim in the late 1980s, which featured a young male actor, Nick Kamen, in a launderette, as marking the beginning of a new period of the consumption of the male body, related as ‘to-be- looked- at- ness’. This can be applied to images of masculinity with regard to both heterosexual female and gay male identifications (Neale 1983), revealing ‘a shift in attitudes towards the male body’ (Dyer [1989] 2000: 123). This is evident where Kamen in the television advert removes his clothes to reveal a well-toned body, dressed only in boxer shorts, having taken most of his clothes off so he may wash his jeans, placing them in the washing machine, accompanied by ‘pebbles’, making them ‘stonewashed’ (a semi-bleached appearance). This is accompanied by a range of onlookers at the launderette, including young teen boys, older males and females, and young teen girls who form the central conduit for viewing, represented as giggling and excited, peering over their magazines to gain a furtive glimpse.