Erdem Alagöz
Research Techniques
29 May 2009
Adam Knows in any case Much, Eve Knows That Adam Knew alike Much
Tania Modleski considers Hitchcock’s films as the center of the appearance of feminist film theory and of the employ of feminist film criticism in her book The Women Who Knew Too Much: Hitchcock and Feminist Theory. She also addresses Laura Mulvey’s essay “ optic Pleasure and story Cinema” as the leading beginning of psychoanalytic feminist film
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set up Window shows the importance of the roles of men and women. Jeff is afraid of being in a deep relationship with Lisa because of her being excellent and “ in any case feminine.” He sees her as a threat to his manly occupation and can’t accept both as a whole. It looks as if Jeff and Lisa will give an end to their relationship for the coarse part of the film; however Lisa is determined to endure for it. Jeff’s approach to Lisa completely changes only after she starts to be more than reckless, brave, and masculine. Thorough the technique of “audience as a voyeur” Hitchcock shows the spectator that Jeff is a representative figure for him (Condon and Sangster 190-91).
In his book, _Hitchcock’s Bi-Textuality: Lacan, Feminisms, and Queer Theory, _Robert Samuels, referring to Mulvey’s article “Visual Pleasure and Narrative Cinema” states that the “gaze” is affect to the masculine point of view, that is, fundamentally male characters rule female
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ones by intentionally visualizing them as objects. Additionally he considers voyeurism as equal to this visual overwhelming sexual thought (109). According to Samuels, Mulvey applies this mouse usage of the gaze to an evaluation of Rear Window. Mulvey argues that “Hitchcock’s right use of identification processes and liberal use of subjective photographic camera from the point of view of the male protagonist draw the spectators late into his position,...If you want to get a full essay, order it on our website: Ordercustompaper.com
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