This action of gazing on and critiquing of the female form in film leads to the conclusion that cinema is a voyeuristic experience. Mulvey explains that "the darkness in the auditorium, and the brilliance of the shifting patterns of light and shade on the screen helps to promote the illusion of voyeuristic separation". She goes on to say that people want to be the actors in the movie and to have what they have (25). The male audience of Memories of Underdevelopment identifies with Sergio and put themselves in his role encountering all the events along with Sergio. In the same vein, just as Sergio possesses Elena so does the audience. Mulvey states, a woman "holds the look, plays to and signifies male desire" (27). She is a tool in the male sexual satisfaction. Berger further elaborates, "[women] are there to feed an appetite, not to have any of their own" (55). They idea of a women having a sexual appetite goes along with the threat of women as representative of castration; both threaten male domination and superiority over a passive woman. Elena and Sergio's maid are portrayed as filling Sergioís sexual taste and act appealingly yet do not exhibit any appetite of their own. The maid simply cleans and wanders around the house while Sergio fantasizes about her. In the bedroom Elena teases and provokes Sergio but not because she is displaying any kind of sexual desire her own but to heighten Sergio's (and, as a result, that of the male audience). Through Sergio the audience feels that it too can indulge in sexually activities with Elena and the maid, hence cinema becomes a form of voyeurism.