Laura Mulvey Rear Window

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.

Laura mulvey rear window. For her womens cinema should destroy traditional narrative. She cites Vertigo and Rear Window as films in which voyeurism and the male gaze play central roles in the plot. While this may be true for she is often shown in flattering soft light what is more interesting about Rear Window and Mulveys discussion of it is the voyeuristic gaze of Jefferies. Hitchcock was open with his interest in voyeurism and sought to represent it in his work.

The film addresses and simultaneously criticizes societys voyeuristic tendencies presents strong female characters creates an unlikable stereotypical male gaze and ultimately blinds that gaze literally and metaphorically. Mulvey went so far as to suggest that the cinematic is coded as male. Rear Window and Post-War Gender Dynamics. When Laura Mulvey calls Lisa Fremont Grace Kelly a passive image of visual perfection 16 she does so from a flawed vantage point.

Mulvey discusses aspects of voyeurism and fetishism in the male gaze in her article Visual Pleasure and Narrative CinemaShe draws from Alfred Hitchcocks 1954 film Rear Window applying terms from Sigmund Freuds theories of psychoanalysis to discuss camera angle narrative choice and props in the movie while focusing on the concept of the male gaze. She claims classical cinema produces images of women reflecting male sexual fantasies. The scene I am about to analyze places L. Rear Window is so involved with the idea of the gaze that it is essentially a film about the gaze.

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. That visual pleasure and sexual difference. 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. Laura Mulvey uses psychoanalysis as a means in understanding the fascination that enlaces the Hollywoodian picturedom upon the cinema-goer.

Controls events coincides with the active power of the erotic look both giving a satisfying sense of omnipotence But there is nothing powerful in. With a male gaze the camera encourages the spectator to view the action from a mans point of view a voyeur while a woman an object of desire performs for this gaze an exhibitionist. But this example with Rear Window observes what Mulvey is emphasizing. Laura Mulvey addressed this notion in relation to Freuds psychoanalytic theories by making a statement that is reflective of Jeffreys character At the extreme it can become fixated into a perversion such as Jeffreys perverse observation of the young couple and producing obsessive voyeurs and peeping toms whose.

Jeries a ff. In Laura Mulveys essay Visual Pleasure and Narrative Cinema she identifies what she sees as voyeurism and scopophilia in Hitchcocks movies with Rear Window used as an example of how she sees cinema as incorporating the patriarchy into the way that pleasure is constructed and signaled to the audience. 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. In that and other Hitchcock films Laura Mulvey wrote the look is central to the plot.

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. Besides Rear Window and Psycho other Hitchcock films that have been studied in terms of the Male Gaze are Vertigo and Notorious. James Stewart in Rear Window 1954. She then looks to Hitchcock whom Mulvey sees as the creator of a male character directly linked with the spectators gaze.

To fully appreciate the tension within it one must set the film within its historical context what John Hellmann refers to as the certitudes and rigidities. Thus the spectator would derive pleasure from identifying with Jefferies as ego ideal and from looking atindirectly possessing Lisa as object an argument that supports Mulveys theory of the sexual politics of looking. In her seminal discussion of the male gaze Laura Mulvey sees Hitchcock demonstrating this scopic perspective in Rear Window 1954 and Vertigo 1957. Mulvey also describes the concept of The Gaze within Rear Window and how it characterises cinema as an instrument of male spectatorship.

Rear Window 1954 Alfred Hitchcock- Paramount Pictures. In relation to Rear Window Mulvey asserts that Jefferies does the active looking a position reinforced by his work as photo-journalist whereas Lisa connotes exhibitionism to-be-looked-at-ness a role also supported by her interest in fashion and style. Feminism and Psychoanalysis in Rear Window 119. Rear Window 1954 In conclusion among all the interpretations of womanhood in films Mulvey does not neglect to solve this problem.

Films like Rear Window 1954 and Vertigo 1958 as well as Peeping Tom 1960 work as metaphors for the cinematic experience playing on the thrills gained from voyeurism and scopophilia which Freud associated with subjecting people to a controlling and curious gaze Mulvey p8.

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