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Category Archives: mulvey
For my final project, I plan to examine the female gaze/women who look within the work of Alfred Hitchcock. I will look at Rear Window (1954), Suspicion (1941), and either Vertigo (1958) or Shadow or a Doubt (1943), but possibly both. … Continue reading → Continue reading
As I thought about “Bound” after the film screening, I realized there are a lot of really interesting symbols and images throughout the film. Some of the most titillating symbols were blood and money, fingers, night/darkness, paint, and characters’ names. … Continue reading → Continue reading
When watching Rear Window, I had various other film ideas in my mind, having seen one of the international lens films a few days earlier: Jose y Pilar, Silver Linings Playbook the night before, and Pitch Perfect the night before … Continue reading → Continue reading
Alfred Hitchcock’s Rear Window presents an opportunity to explore Laura Mulvey’s critique of cinematic tradition in “Visual Pleasure and Narrative Cinema,” particularly since Mulvey herself uses Rear Window as an example of Hitchcock’s predilection for voyeurism in his films (7-8). … Continue reading → Continue reading
Watching the movie Rear Window was an interesting experience for me. Initially, I thought the movie was boring and I did not really understand the significance of many of the scenes. However, after talking it over with my friend in … Continue reading → Continue reading
What I found interesting about the text of Laura Mulvey is when she talks about the female body and how this is fragmented. Through editing and framing the female body gets ‘cut’ into pieces. The female body becomes an object, … Continue reading → Continue reading
For this blog entry, I decided to analyze the film Little Miss Sunshine using John Berger’s, Laura Mulvey’s and bell hooks’ writings. Little Miss Sunshine’s plot revolves around a dysfunctional family taking a road trip to get the family’s youngest … Continue reading → Continue reading
In the book “Ways of Seeing,” John Berger dissects the role of the male gaze as it applies to European oil paintings of nude women. According to Berger, nudes represent the objectification of women in society in that they are … Continue reading → Continue reading
In the writing questionnaire, I described a scene from the pilot episode of the show “Nashville”; I now plan to revisit this scene with Berger’s and Mulvey’s arguments in mind. To recap, the scene I discussed is a short (10-second) … Continue reading → Continue reading
Laura Mulvey’s seminal essay “Visual Pleasure and Narrative Cinema” interrogates cinematic history, and finds it to be decidedly patriarchal. Mulvey documents, fairly convincingly, the ways in which women are eroticized and fetishized as visual objects: for the (male) characters within … Continue reading → Continue reading