Alfred Hitchcock Blue Velvet Analysis

Cinema in of itself has always been voyeuristic due to the nature of what film is, watching others, and because of the predominantly heterosexual male creative heads and audience. As cinema developed over the years, directors incorporated the general desire and scandal of watching, specifically voyeuristic male gazes on women, to combine the audience's desire to watch with the desire of the characters watching within the film. This essay will focus on directors Alfred Hitchcock with his movie Psycho (1960) and David Lynch with Blue Velvet (1986) on their use of different filmography techniques within the films to give the audience further insight into the psyche of the male characters and blur the lines between lust and violence. This all branching

The shot is staged like a classic noir movie with excessive use of flat blacks and tiny pools of light onto the areas of importance and intended focus. Here the focus is on the tools of the voyeur, a person who usually derives sexual pleasure from observing an unsuspecting person typically undressing or engaging in sexual acts. The small bit of bright light highlights Norman's face, specifically his eye, the voyeurs' tool of watching, and the peephole through the wall, the tool through which he watches Marion Crane undress for the shower. Hitchcock uses the recurring theme of eyes especially in Psycho to represent the state of the character. Here all focus of light is on the eye because all of Norman's attention is on Marion on the other side of the peephole. PSYCHO

He originally entered the apartment of singer Dorothy Vallens after hearing her name come up in an investigation regarding a severed ear he found in a vacant lot. Upon hearing her come in he hid in the closet to not be found and only began sexual voyeuristic watching when she began to undress and the sadomasochistic, liking giving and receiving pain, character Frank Booth came in and engaged in bizarre sexual acts. Unlike Norman, Jeffrey did not pre-plan the act but still succumbs to the lust of watching a woman he just met and then as consequence must watch her become an object to Frank in their sexually disturbing and aggressive engagement. He too gets a combination of lust and violence but through the events that unfold to Dorothy, the object to which both lust and violence are applied. Sigmund Freud sought to understand and explain the connection between violence and lust, specifically lust for woman and man's aggressive nature to assert dominance through aggression. His studies reached that this violent lust possibly stems from an “admixture of aggression characteristics in men” that lead to an urge for men to overpower the sexual object and that all men have different levels of this urge, and the greater ability to stave it off. SEX AND AGGRESSION. Both directors wanted to convey this connection of blurring lines of lust for the women with a combination of violence upon them by men, be it by a