Mulvey On Rear Window

Laura Mulvey is a feminist film theorist from Britain best known for her essay on Visual Pleasure and Narrative CinemaHer theories are influenced by the likes of Sigmund Freud and Jacques Lacan by using their ideologies as political weapons whilst also including psychoanalysis and feminism in her worksMulvey is predominantly known for her theory regarding sexual objectification on.

Mulvey on rear window. Mulvey argues that female main character Lisa Fremont is constantly asked to be looked at through Hitchcocks close-ups and choice of costumes. Alfred Hitchcocks Rear Window corresponds with Mulveys ideas and ultimately supports her theories on male voyeurism in cinema even though she believes the film perpetuates the male gaze in an anti-feminine manner. This incident foreshadows a rape and murder that happened ten years after the release of Rear Window the famous Kitty Genovese case that launched research by psychologists into the Bystander Effect. Scottie with his camera in Rear Window.

Controls events coincides with the active power of the erotic look both giving a satisfying sense of omnipotence But there is nothing powerful in. They both play with the audiences role as a spectator and therefore voyeur by having the main characters themselves be voyeurs. That visual pleasure and sexual difference. The location of the events is always in the same place.

It is a response to feminist film theorist Laura Mulveys term the male gaze which represents not only the gaze of a heterosexual male viewer but also the gaze of the male character and the male creator of the film. Rear Window 1954 the film directed by Alfred Hitchcock focuses on matters intensely discussed by feminist theorists such as. Therefore ultimately Rear Window is an example of classical Hollywood cinema as Bordwell and Thompson define it. After a while he gets bored and starts to.

In her essay Mulvey focuses largely on Hithcocks Rear Window and understandably so. Rear Window 1954 Alfred Hitchcock- Paramount Pictures According to Mulvey the determining male gaze projects its fantasy onto the female figure which is styled accordingly. Rear Window is a 1954 American mystery thriller film directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrichs 1942 short story It Had to Be Murder. The Oedipus complex also explains how children become gendered beings.

Shohini Chaudhuri also discussing the use of close-ups writes that the heroine is valued above all for what her appearance connotes for her beauty and sexual desirability 37 pointing out that many of Jeffries focuses are on his leg. Between 37 and 38 witnesses all neighbors in her Queens apartment block saw or heard Kitty being stabbed and raped but not one of them intervened or called the police. It was filmed at Paramount Pictures starring James Stewart and Grace Kelly. The female gaze is a feminist film theoretical term representing the gaze of the female viewer.

She states that this sexist element of cinema can be broken down by conscious creating on behalf of the director and. Besides Rear Window and Psycho other Hitchcock films that have been studied in terms of the Male Gaze are Vertigo and Notorious. But this example with Rear Window observes what Mulvey is emphasizing. Mulvey then concludes the piece by reiterating her thesis and recapping the cardinal points made in the piece.

Mulvey and Rear Window Rear Window a very well known Alfred Hitchcock movie has the characteristics of a theatrical performance. Scopophilia Voyeurism the Gaze Objectification Fetishism. Mulvey used Hitchcocks 1954 film Rear Window to demonstrate how gender plays a vital role in the dynamics of cinematic spectatorship. All this in a psy-choanalytic context.

A newspaper photographer with a broken leg James Stewart passes time by observing his neighbours through the window. After the in-depth class discussions about voyeurism and suturing the choice to watch Hitchcocks classic films Rear Window and Vertigo made perfect sense. Laura Mulvey in her essay Visual Pleasure and Narrative Cinema while discussing psychoanalytic theory and the pleasures associated with the male-dominated fascination with looking makes brief mention of Alfred Hitchcocks Rear WindowWhile I agree with Mulvey on the point that it is when Lisa crosses over into the opposite block that Jeffries desire for her is reborn I disagree. As shown in the analysis of Rear Window Mulveys assumptions do not always apply to filmic texts and the critic herself later reviewed her arguments and concluded that the heroine of traditional cinema is unable to achieve a stable sexual identity leading to an oscillation between masculine and feminine positions but that the fantasies of action can only be maintained through adopting a masculine point of view 198130.

Rear Window is so involved with the idea of the gaze that it is essentially a film about the gaze. Still Mulveys idea about the male gaze has some validity to it which we find in Hitchcocks films. According to Laura Mulveys phallocentric interpretation of Rear Window the male protagonist. In the film a man is restricted to his apartment because of a broken leg.

When eventually he believes hes been watching a murderer Jeff becomes obsessed and decides to solve the crime with the help of his girlfriend Lisa Grace Kelly and nurse Thelma Ritter. Originally released by Paramount Pictures the film stars James Stewart Grace Kelly Wendell Corey Thelma Ritter and Raymond BurrIt was screened at the 1954 Venice Film Festival.

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