The significance of the feminist film theory is that it explores the concept that women are inferior to men. Examining the theory in Alfred Hitchcock’s films, “The Birds”, “Vertigo” and “Psycho”, will display how the theory can be used to explore his films and their meaning. Hitchcock is a very monumental filmmaker and is known for his mastery at controlling the audience. Hitchcock never stated that it was prevalent in his movies, although he could have worked this theory into his movies and not even have realized it. The time period in which Hitchcock produced these films was not a time of equality for women so the subjectivity of women in his films might not have been that prominent to see, since it was a “normal” thing to society.Hitchcock
Rear Window effectively demonstrates Hitchcock’s strong qualities as an author. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions on how to make the movie; he is providing his own creative adjustments. Now we will address a few of these from the film. First, drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films.
Alfred Hitchcock's Psycho Alfred Hitchcock's "Psycho"-the movie the world recognised-was first premiered in the home town of New York on the 16th June 1960.The film follows the life and strife of a young beautiful woman Marion Crane, played by the Janet Leigh, who is on the run from the police after stealing $40.000, she manages to find refuge at the Bates motel where she makes her worst mistake possible. During and after the film production of "Psycho" Alfred Hitchcock had his aids buy as many copies as possible of the novel "Psycho"-written by Robert Bloch. Why? To conceal the ending form the public's eye so when the film was shown in cinemas the audience would'nt know the ending. When people found out the title of the movie Hitchcock said it was based on a greek love story "Psyche".
As the credits roll we see the blinds of a three-pane window slowly being lifted up, after they finish the camera moves forward revealing to our gaze the reality on the other side of the open window. It faces the back of many other buildings, the courtyard they enclose, and a sliver view of the backstreet. More importantly, it faces many other windows just like it. Behind each one of those there are people, going about their day, doing mundane tasks, unaware of being observed. In his 1954 movie “Rear Window” Alfred Hitchcock invites us to engage in the guilt free observation of the lives of others. The main character, photographer L. B. Jefferies, is home stuck with a broken leg encased in a cast that goes all the way to his hip, providing the perfect excuse for him to amuse himself in this hot Manhattan summer by engaging in the seemly harmless act of looking into the many windows he can see from his back apartment. Casual, harmless, voyeurism has been part of the human behavior for ages but in the sixty years since the movie was released it has gained increasing traction. Reality television, Movies, TV shows, YouTube, blogging, Instagram and Facebook are examples of modern tools that allow us to engage in the observation of others while remaining protectively hidden from their returning gaze. In its essence the casual voyeuristic actions we engage in while observing others when using these new media tools follows the same pattern of behavior described in the movie, with the same positive and negative consequences. Casual voyeurism distinguishes itself from pathological voyeurism, which is characterized by a preference in obtaining sexual gratification only from spying others, by the removal of the sexual component from the equat...
Works Cited Cowie, Elizabeth. A. A. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN -. University of Minnesota Press, 1997.
Alfred Hitchcock's Vertigo is a film which functions on multiple levels simultaneously. On a literal level it is a mystery-suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of the hoax, and the unraveling of the threads of the murder plot. On a psychological level the film traces the twisted, circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of the immemorial tale of a man who has lost his love to death and in hope of redeeming her descends into the underworld.
Post World War II America was a society full of anxiety. In the late 1950s Americans were deeply troubled by so many social shifts. Major changes were occurring both internally and externally. They were in the midst of the Cold War, and were vastly approaching the atomic age. There was a communist scare and fear of Russian expansion. Joseph McCarthy was hunting down major celebrities for their communist involvement and the 'Red Influence' seemed to be everywhere. The move toward suburbia and the growth of multinational corporations were flourishing. People seemed to be pulled in every direction. Another change that would have a major impact on society for years to come was the re-identification of gender roles. In Robert Kolker's book, Film, Form and Culture, he states that, "During the time of the Cold War, the political and the personal, the power of the state, the workplace, the family and the sexual all became confused and self contradictory" (Kolker, 83). The gender confusion of the time would cause major conflicts and can be seen in many forms of popular culture from the mid-to-late fifties, from magazines to movies. By the time Alfred Hitchcock was starting production on his forty-fifth film Vertigo, gender had become a major issue. This is obvious through watching the film and looking at the main characters, both male and female. In Hitchcock's Vertigo, the struggle for socially recognized gender roles is acted out, mostly through a battle for sexual domination between Scottie and Madeline/Judy. The film also supports the idea of the submissive domestic female, through the character of Midge. This film is definitely a marker of its time.
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
Alfred Hitchcock developed his signature style from his earlier works The Lodger and Blackmail. These films were the framework for his signature films later on. His themes of “an innocent man who is accused of a crime” and “the guilty woman” were first seen in these two films and are repeated throughout Hitchcock’s cinematic history
An excellent film will manage its sounds evenly throughout the film. Music, effects, and talking should all be normal to more mellow in loudness. If they are beyond that it should not be harsh and should fit the tone of the scene.
The two films Psycho and The Birds, both directed by Alfred Hitchcock, share similar themes and elements. These recurring themes and elements are often prevalent in many of Hitchcock’s works. In Psycho and The Birds, Hitchcock uses thematic elements like the ideal blonde woman, “the motherly figure”, birds, and unusual factors that often leave the viewer thinking. Hitchcock’s works consist of melodramatic films, while also using pure cinema to help convey messages throughout the film.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
In the thirty years since its release, Alien has become a film of various debates amongst film theorists. Academic analyses of the film draw attention to many differing themes, most popularly with feminism. Most critiques, academic and otherwise, ultimately conclude that Alien is a feminist film because of its representation of the workplace as a home to equality and a place where traditional gender roles have been obliterated. What is ultimately revealed by Alien is the anxiety of men during the era of second-wave feminism in which the film was produced. This film provides a step forward for feminists, but imagines men taking two steps back in equality.
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...