The first is the perspective of the male character and how he perceives the female character. The second is the perspective of the spectator as they see the female character on screen. The third "look" joins the first two looks together: it is the male audience member's perspective of the male character in the film. This third perspective allows the male audience to take the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film. In the paper, Mulvey calls for a destruction of modern film structure as the only way to free women from their sexual objectification in film. She argues for a removal of the voyeurism encoded into film by creating distance between the male spectator and the female character. The only way to do so, Mulvey argues, is by destroying the element of voyeurism and "the invisible guest". Mulvey also asserts that the dominance men embody is only so because women exist, as without a woman for comparison, a man and his supremacy as the controller of visual pleasure are insignificant. For Mulvey, it is the presence of the female that defines the patriarchal order of society as well as the male psychology of thought. Mulvey's argument is likely influenced by the time period in which she was writing. "Visual Pleasure and Narrative Cinema" was composed during the period of second-wave feminism, which was concerned with achieving equality for women in the workplace, and with exploring the psychological implications of sexual stereotypes. Mulvey calls for an eradication of female sexual objectivity, aligning herself with second-wave feminism. She argues that in order for women to be equally represented in the workplace, women must be portrayed as men are: as lacking sexual objectification. Mulvey proposes in her notes to the Criterion Collection DVD of Michael Powell's controversial film, "Peeping Tom" (a film about a homicidal voyeur who films the deaths of his victims), that the cinema spectator's own voyeurism is made shockingly obvious and even more shockingly, the spectator identifies with the perverted protagonist. The inference is that she includes female spectators in that, identifying with the male observer rather than the female object of the gaze. The early work of Marjorie Rosen and Molly Haskell on the representation of women in film was part of a movement to depict women more realistically, both in documentaries and narrative cinema. The growing female presence in the film industry was seen as a positive step toward realizing this goal, by drawing attention to feminist issues and putting forth an alternative, true-to-life view of women.