Feminist Film Theory In Rear Window

Rear Window - I Seeeeee You.

Feminist film theory in rear window. Modleski considers the emotional and psychic investments of men. In her essay Mulvey focuses largely on Hithcocks Rear Window and understandably so. I realize now that my word count is obscene but for any of you interested in the feminist and psychoanalytical implications of Rear Window and other Hitchcock films here is a great essay by Laura Mulvey from 1973 that was published as an article in Screen in 1975. The objectification of women has conjured mass debate within modern media and cinematic theory.

The Women Who Knew Too Much. Mulvey argues that female main character Lisa Fremont is constantly asked to be looked at through Hitchcocks close-ups and choice of costumes. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock each of which provides a basis for an analysis of the female spectator as well as of the male spectator. 1973-79 Structuring a language of theory.

Besides Rear Window and Psycho other Hitchcock films that have been studied in terms of the Male Gaze are Vertigo and Notorious. Torturing Women and Mocking Men. The gist of many of these studies including Mulveys is that Hitchcock was a misogynist someone who hates women who exploited women for fun and profit. Originally published in 1988 The Women Who Knew Too Much remains a classic work in film theory and feminist criticism.

With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back to analyse films past. Think of Rear Window 1954 for a literal framing of womens bodies or Shes All That 1999 which revolves around a make-over. Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by Second Wave Feminism and brought about around the 1970s in the United States. Rear Window 1940 Negation of womans view.

A key idea of feminist film theory. Feminist film theorist - Laura Mulvery in her 1975 analysis of the male gaze discusses h. According to Mulvey both Rear Window 1954 and Vertigo 1958 are films cut to the measure of male desire - tailored that is to the fears and fantasies of the male spectator who because of the threat of castration posed by the womans. Acknowledging this almost sacred rule of law established between the audience and the screen.

Rear Window is so involved with the idea of the gaze that it is essentially a film about the gaze. 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 filmIn contemporary usage the female gaze has been used to refer to the perspective a. Originally published in 1988 The Women Who Knew Too Much remains a classic work in film theory and feminist criticism. In this period feminist film theorists adopted theoretical approaches psychoanalysis and semiotics mostly to talk about how women were conceived of as a symbol specifically a symbol of lack such that they really only existed to be looked at on film.

Hitchcock and Feminist Film Theory by. Glen Johnson Feminist film theory. Feminist film theory and film studies and her ideas about the pleasurable and con-trolling aspects of vision have been highly influential in several academic disci-. Film Theory And Cri-ticism Sixth Edition EdLeo Braudy.

Although it is very relevant within contemporary news theorists have been exploring the portrayal of women in film since the 1970s. Rear Window Tania Modleski argues that Hitchocks film Rear Window is an example of the power of male gazer. The female gaze is a feminist film theoretical term representing the gaze of the female viewer. Feminism n Oxford University Press.

Throughout my young life Ive noticed for some directors the desire to nail a truly significant 4th wall breaking moment in a film is compulsive but simultaneously terrifying. In all the rooms across the courtyard Rear Window lays out the various stages of sexual relationships for the benefit of its commitment-phobic male voyeur but marriage in Hitchcocks films is. Alfred Hitchcocks film Rear Window for how he portrayed woman in the film. Feminist Film Theory Thursday June 27 2019.

Reads Vertigo Rear Window and Marnie12 While Mulvey chooses excellent cin-ematic examples to demonstrate the power of the gaze her emphasis on the role. This is shown in many parts of the film and is very identifiable when comparing the beginning of the film to the end. Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. Feminism and Psychoanalysis in Rear Window 119 Raluca MĂRGINAŞ FEMINISM AND PSYCHOANALYSIS IN REAR WINDOW 1 Metz Christian From the Imaginary Signi fier.

The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Alfred Hitchcocks movie correlates to Mulveys ideas which support her theories of scopophilia and voyeurism in cinema she believed that the film exploits the male gaze and how it antagonises woman in an anti-feminism manner.

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