Woman on a Motorcycle is the definition of phallocentrism!
"...the male figure cannot bear the burden of sexual objectification. Hence the split between spectacle and narrative supports the man's role as the active one of advancing the story, making things happen." (Lauren Mulvey, Visual Pleasure and Narrative Cinema pg. 6) Woman on a Motorcycle starts off using phallocentrism and male gaze immediately when the film starts with her getting out of bed naked and then dressing herself in a skin-too-tight leather suit and up until the very end where her body is gracefully thrown in the air through a car windshield. Rebecca's lover Daniel who definitly has a case of scopophilia is constantly touching her body reemphazing that his male gaze just isn't enough. Daniel's creepy intrusion on Rebecca while she is sleeping at the Resort leads watchers to believe everything is just fine and dandy because Rebecca was secretly glad that he had come in to her room. The film does not question the idea of what Daniel would have done if she had said no. This film also defines what a real man is and what he is not. For example, a real man does not ask a lady for permission to have sex with her a.k.a. Daniel. A real man also does not display too much love or affection because that is something a wimp would do. a.k.a. Raymond. Rebecca to me is the opposite of a heroine. She represents a woman who rather than fights the oppressive patriarchal role goes along with it and the only time she stirs from it is when a man indirectly tells her to. Rebecca does not go take to the road to free her spirit or damn the role that she was given. No, she takes to the road to let some barbaric, twisted man fondle her breasts and talk about how love doesn't exsist.