Posted at 11.18.2018
In this article, Modleski took a very negative look at the representation of girl in Hitchcock's film. Modleski argues that sexual violence was the overall feminist view of 'blackmail'. First, Modleski pointed out that the film could be observed as a 'set-up' of the woman, ' who started out the film by flirtatiously laughing at another man's joke and by the end becoming somebody's joke. And this woman occupies the place that 'Freud allocated to ladies in the composition of the obscene joke: the area of the object between two male themes. For supporting this idea, She applied Helene Cixous, Laura Mulvey, Maurice Yacowar's main idea in feminist theory to look at the joke and laughter function in the film. Second, she argued people may find great pleasure from looking at through anger which experienced long been refused, therefore Hitchcock was enthusiastic about exploring the psyches for tormented women in his film. She advised because the film proved a problem of women and the patriarchal laws, people could quickly to pay the sympathy for and identify the feminine outlaw. When she mentions Doane's viewpoint on denial of pleasure to the feminine spectator, I hope she could increase the theory more. Because I was confused about the idea she made here.
Tania Modleski, The Women Who Knew AN EXCESSIVE AMOUNT OF, 'The master's dollhouse: back screen'. Routledge; 2 model, 2005
'The master's dollhouse: back window'
In this article, Modleski remarked that the primary critical approach for 'back window' was voyeurism and chronicle of Jeff's sexual maturing. In addition, she use Mulvey's theory in 'visual pleasure and narrative cinema' to examined Jeff's fear for Lisa's success as a woman in film. She also compared different view form Lisa's and Jeff's of the neighbours. She also noticed that when the film advanced, Jeff's perspective became both him and Lisa's. She advised that the function feminine image in film was enjoying by male spectator. rear end window mentioned that Jean-Louis Baudry's discussion 'to be characteristic of the cinematic apparatus as a whole -and specifically of projection -was also true at the amount of narrative, which work as masculine fantasy projected onto the body of woman'. 'All critics consent the film was about the power the man gaze. Every perspective she made was relevant.
Mandy Merck, the Sexual Subject: A "Screen" Reader in Sexuality, "Visual Pleasure and Narrative Theatre" Routledge; 1 edition, 1992
"Visual Pleasure and Narrative Cinema"
Laura Mulvey' essay not only has a specific devote the feminist film theory, but also was important in conditions of determining spectatorship from the psychoanalytical view point. Inside the essay, Mulvey explain that unaggressive role of ladies in cinema provided visual pleasure for the male audience and Freud's psychoanalytic theory was the main element point to understand how female erotic objectification was made through the combo of the patriarchal order of culture, and 'looking' alone as a pleasurable take action of voyeurism. Furthermore Mulvey used vertigo and rear end screen as example to discovered three "looks" or perspectives that occur in film which serve to sexually objectify women. However, I found that the essay was very hard to follow. The greater I read the more I got mixed up. And I though it may because she exploited her theory with many people's idea in once with less example.
Barbara Creed, the Monstrous-Feminine: Film, Feminism, Psychoanalysis, Routledge, 1993
Kristeva, femininity and abjection
In this essay, Barbara Creed rewrote some main idea of Kristeva in Forces of Horror. Barbara Creed described Julia Kristeva provided us an evaluation of the representation of girl as monstrous in horror movies in Capabilities of Horror. She identified abjection within contemporary society, separating human from non-human, whereby abjection is first recognised then excluded. She argued that the abject could be experienced in many ways, such as bodily functions, including food loathing and the eating of individuals flesh. the ways abjection was illustrated in horror film into three parts, the first being images such as corpses, mutilation, physical waste; secondly, the idea of a border, the crossing of which is seen as abject, monstrous, separating human being from inhuman such as man from beast, and lastly, discovering the maternal amount as abject. Kristeva's discussion of abject was historically cleansed through religion, its malfunction has lead to the art dealing with this role, this article surface finishes in the same vein as it started, detailing that the abject is ambiguous, both repelling and appealing to. She attempted to give people a brief and clean idea what the abject was and how it work.
Tania Modleski, THE LADIES Who Knew Too Much, 'Rituals of defilement: frenzy' Routledge; 2 model, 2005
In this essay, Modleski determined Hitchcock's 'ambivalent toward female' was fear by using psychoanalytic theory from Lacanian, Julia Kristeva, she stated that man's love-hate marriage with the mom in the mirror stage of psychic development, combined with an average male fascination and id with femininity. When she explored the idea 'polarity of woman as food vs woman as poison', I did not see any connect to the debate on the Levi-Strauss's 'common social equation of men with devourer and female with devourer'.
Mandy Merck, the Sexual Subject matter: A "Screen" Reader in Sexuality Routledge; 1 edition, 1992
The erotic differentiation of Hitchcock text
In the article, Grieg made his discussion in all words of classical movie theater as presentation of an totally male oedipal trajectory based on Raymond bellour theoretical constructs function. When He analyzed recent focus on fantasy, he review lacan's concept of the symbolic and erotic difference in the theatre which put forth a concept of comparative autonomy of the spectator. Dream allowed people understand the film in various way and provided different indentation to different personality in the film and framework of any particular Hitchcock film was changing and mot necessarily 'gender specific'.
Tania Modleski, The Women Who Knew AN EXCESSIVE AMOUNT OF, The woman who was known too much: Notorious, Routledge; 2 model, 2005
The essay targets marriage of Alicia and Devlin. She pointed out Alicia's sex behavior made her electric power in the film. But Devlin sadistic behavior always made her under his control. Modleski analyzed some theory for viewing and knowing some one's gendered place in the cultural order and evaluated these elements in film. She assumed that Alicia's battling one part was related to her devote world and another part was from Devlin who stand away her to viewing her suffer. She argued that the film was an opposition informing the feminist film theory: that opposition clustered throughout the constellation men and female.
Mary Anne Doane, The Desire to Desire: THE GIRL Film of the 1940s, Indiana School Press, 1987
The Want to Desire
In the essay, Mary Ann Doane used 'the purple rose' to provide audience a short idea on female spectatorship. She use Mulvey's theory in 'visual pleasure and narrative cinema' to exam that videos shouldn't dismiss them as sexist or try to develop a way of seeing that the way the film in 1940 works in masculine in mother nature. She mention she'd backup this ides basically the opposite of the main one passed down and contrasting the way the camera views the women in these videos, the way the films' female individuals watch out onto their worlds, and the way the Hollywood movie industry makes images that this expects female viewers to consume. Because the terms she use here was too academics, Personally i think hard to check out.
Barbara Creed, the Monstrous-Feminine: Film, Feminism, Psychoanalysis, Routledge, 1993
The castrating mom: psycho
In the essay, Barbara Creed mentions the relationship in horror film were almost between mother and son and the partnership were usually represented with repressed Oedipal and desire, concern with the castrating mom. Barbara Creed used psycho among others for example to exam the way the function of the idea works.
In this film, the bathtub scene shows among this, where the blade used represents not only the phallus but also the threat of castration, as seen by her actions.
He described how, even though mother is often seen as the castrator, it was at fact the daddy who performed this role, and although does not give a convincing explanation because of this, says that, in the case of Little Hans and the Wolf Man, the young man in this film had to it a 'phylogenetic pattern'. I am hoping she could broaden idea on 'phylogenetic style' more and present a example. Because I had been confused about the point she made here.