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Abnormal psychology in films
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There are several parallels between Jeff’s relationship with Lisa and the scenarios he observes voyeuristically. These parallels are especially striking between Jeff, Lisa and the Thorwalds, but in this case we can observe that the gender roles are reversed. Mr. Thorwald and Lisa are always active and dominantly standing over their counterparts, while Mrs. Thorwald and Jeff are immobilized in one space and passive. When Mr. Thorwald brings his wife a rose, he shows a desire for a loving relationship, but Mrs. Thorwald laughs at him. Lisa, on the other hand, isn’t even able to get Jeff’s attention by smothering him with affection while sitting on his lap. Laura Mulvey argues in Visual Pleasure and Narrative Cinema that in virtually every visual
text, the man represents the bearer of the gaze while the woman is the image or subject of the gaze. This idea corresponds to the common stereotype of the active man and the passive woman.
Recently, I saw a movie about female tennis champion – Billie Jean King, and although I have never been into the feminism (neither can I say that I quite understand it), her character woke up some other kind of sensitivity in me. After this – to me significant change – I could not help myself not to notice different approaches of John Steinbeck and Kay Boyle to the similar thematic. They both deal with marital relationships and it was quite interesting to view lives of ordinary married couples through both “male” and “female eyes”. While Steinbeck opens his story describing the Salinas Valley in December metaphorically referring to the Elisa’s character, Boyle jumps directly to Mrs. Ames’s inner world. Although both writers give us pretty clear picture of their characters, Boyle does it with more emotions aiming our feelings immediately, unlike Steinbeck who leaves us more space to think about Elisa Allen.
“Men are from Mars, women are from Venus” as the famous saying of John Gray goes. It is believed men and women are nothing alike in almost every aspect. In Deborah Tannen’s essay “Gender in the classroom: Teacher’s Classroom Strategies Should Recognize that Men and Women Use Language Differently” she focused on how men and women differ when it comes to communicating, with emphasis on how it effects to how men and women behave in the classroom.
In Alison Bechdel’s graphic novel entitled Fun Home, the author expresses her life in a comical manner where she explains the relationship between her and her family, pointedly her father who acts as a father figure to the family as she undergoes her exhaustive search for sexuality. Furthermore, the story describes the relationship between a daughter and a father with inversed gender roles as sexuality is questioned. Throughout the novel, the author suggests that one’s identity is impacted by their environment because one’s true self is created through the ability of a person to distinguish reality from fictional despotism.
As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very act of filming" (Kaplan 15). The gaze is associated with subjectivity and control and as Kaplan later suggests in the chapter "Is the Gaze Male?", "to own and activate the gaze...is to be in the masculine position" (Kaplan 30). Therefore the visual pleasure in cinema is mainly geared towards a male spectator who maintains subjectivity and a sense of voyeurism, while his female counterpart must be both subject and object, she must see herself being seen.
“Gender roles are absurd” is a prominent theme in Lorraine Hansberry’s novel, A Raisin in the Sun. Through the use of her character’s personalities and their relationships with one another, she conveys this.
Gender difference is always exist since the birth of human. In all ages, female is usually be in weak position compare to male. As Tanne said, there is no unmarked women. Why there is no unmarked woman? Because most of females are effected by males judgment. Therefore, i strongly agree with Tanne’s idea that there is no unmarked woman, and women has there own right to chose will be marked or not.
According to the feminist film theorist, Laura Mulvey, one of the most important pleasures of the classical narrative is identification. This is send to occur when the spectator narcissistically identifies with an idealized figure on screen, typically a male hero whose actions determine the narrative, in a process that recapitulates the discovery of the image of oneself in the mirror phase. For the scene just discussed, the idealized figure is Vincent, whom the spectators personally identifies with.
In Rear Window, Alfred Hitchcock took a plot-driven short story and transformed it into a character-driven movie. Although differences must exist between text and film, because of the limitations and advantages of the different media, Hitchcock has done more than translate a word-based story into a visual movie. Aside from adding enough details to fill a two-hour movie, Hitchcock has done much to change the perspective of the story, as well as the main character. The novel’s Hal Jeffries, a seemingly hard-boiled and not overly intellectual man contrasts sharply with the photojournalist J.B. Jeffries of the movie. The addition of supporting characters, such as Lisa, diminishes somewhat the loneliness of the short story character. The character in the short story has more in common with Humphrey Bogart’s Sam Spade than with Jimmy Stewart’s Jeff. That Hitchcock took a story written in a style similar to Dashiell Hammett or Raymond Chandler, and chose not to make a film noir detective story speaks much to Hitchcock’s purpose here. Rather than creating a conventional detective story, Hitchcock creates an everyman, whose injury prevents him from action. The impotence the character feels heightens the tension of the film, as well by forcing the viewers to identify with his frustration. The movie disguises the many of the darker moments with humor, a device commonly used to lessen the shock of less acceptable aspects of a story. While the story was merely the narrative of one man, the film portrays different concepts of, and stages of love, in the images of the people across the way. The story is a guiltily related narrative of one man’s voyeurism, repeatedly rationalized by him. B...
In their publication, “Doing Gender, ” Candance West and Don H. Zimmerman put forward their theory of gender as an accomplishment; through, the daily social interactions of a man or woman which categorize them as either masculine or feminine. From a sociological perspective the hetero-normative categories of just sex as biological and gender as socially constructed, are blurred as a middle ground is embedded into these fundamental roots of nature or nurture.To further their ideology West and Zimmerman also draw upon an ethnomethodological case study of a transsexual person to show the embodiment of sex category and gender as learned behaviours which are socially constructed.Therefore, the focus of this essay will analyze three ideas: sex, sex
Susan Glaspell's play, "Trifles", attempts to define one of the main behavioral differences between man and woman. For most of the story, the two genders are not only geographically separated, but also separated in thought processes and motive, so that the reader might readily make comparisons between the two genders. Glaspell not only verbally acknowledges this behavioral difference in the play, but also demonstrates it through the characters' actions and the turns of the plot. The timid and overlooked women who appear in the beginning of the play eventually become the delicate detectives who, discounted by the men, discover all of the clues that display a female to be the disillusioned murderer of her (not so dearly) departed husband. Meanwhile, the men in the play not only arrogantly overlook the "trifling" clues that the women find that point to the murderer, but also underestimate the murderer herself. "These were trifles to the men but in reality they told the story and only the women could see that (Erin Williams)". The women seem to be the insightful unsung heroes while the men remain outwardly in charge, but sadly ignorant.
In both plays “A Doll’s House” and “The House of Bernarda Alba”, domination and love have been key elements in the development of the plays. Characters that are by nature dominating over their family portray love in many different ways. Love is not as easy to interpret from these characters as compared with the straightforward Aunt Polly in “The Adventures of Tom Sawyer”. Love is defined in the characters of Torvald and Bernarda in the form of domination. Torvald is a lot more subtle about his feelings and more open for interpretation, while Bernarda is more complex and closed in the form of expressing love.
Looking at classic Hollywood films, Laura Mulvey has deduced in her work in 1975, “Visual Pleasure and Narrative Cinema” that the industry’s films are made for the male gaze. She emphasises that these movies are dominated by the heterosexual male’s pleasure in looking at the female. Later in another one of her works in 1981, “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’”, she goes on to say that no matter what the gender of the audience is, when it comes to them watching what is on a screen as a spectacle, the spectator will always have a male gaze. When looking at the male gaze (from Mulvey’s point of view) as the projection of one’s fantasies onto the female body while watching it on the screen, regardless of one’s gender, one
An innumerable amount of movies involves forcing the audience to participate in the male gaze upon a feminine body. In Robert Altman’s The Player (1992), the audience experiences the hard realities that are associated with the Hollywood/film industry. However, during this story of betrayal and murder, the audience becomes exposed to the male gaze, an act that men perpetrated against women. Early on in the movie, the protagonist, Griffin Mill (Tim Robbins), has a friendly conversation with June Gudmundsdottir (Greta Scacchi) while watching her from outside of her house. Examining the staging, sound, and acting displayed in this sequence contributes to the understanding how The Player normalizes the male gaze and reinforces the power imbalance between men and women.
The cinema has deviously played on the voyeuristic characteristics of humans, something unknown to the average “innocent” minded audience. The dark, separated setting of the theatre provides the perfect breeding ground for these hidden urges within us all (Mulvey 60). Film has long manipulated these voyeuristic ideals in humans incorporating them into the diegesis of the work; painting perfect scenes that make the audience feel as if they are secretly viewing these real-life, private, and intimate moments between two celebrities on screen. While incorporating also the theory of the “male gaze,” audience members are hypnotized under the director’s and male lead’s spell, continually bringing them crawling back for more.
Stephen's relationship with the opposite sex begins to develop early in his life. Within the first few pages of the novel lie hints of the different roles women will...