Kristeva’s analysis on Freud’s castration, and theory of abjection is the very vehicle that moves the film’s understanding of feminism through the help of the horror genre. This scene is very important because it not only broadcasts a male gaze to objectify women, but also displays how these women will treat other women. The film suggests that it will not be just men who will lead to the collapse of female empowerment, but women themselves will contribute to the fall of feminism. The mise-en-scene in the film builds up the horror genre, and the film’s understanding of feminism through the use of wardrobe, props, and blood. These items illuminate the importance of Carrie’s induction to womanhood, and the powers that come with being a strong …show more content…
This makes horror a very appealing genre even though it generally shows people who are struggling with their inner demons; making them monstrous. This falls back on Kristeva’s contamination lens as the villain archetype could be viewed as a contamination of the mind. As a result, one is unable to control their evil urges because it is not them who is performing the evil acts, it is indeed the “other”. That is why Carrie works so well, and the genre helps to understand it’s view on feminism. Carrie’s early struggles makes for a great connection so that when she unleashes her wrath it becomes clear that she is fed up, and her action are deemed acceptable as a form of …show more content…
The first striking sound comes as Carrie becomes hysterical when she receives the first menstrual cycle. While sitting on the shower floor, she screams causing a light to shatter much louder than it should be. The next sound comes as a screeching violin while Carrie stares into her mirror as the reflection grows larger, and smaller while she attempts to conceal her head. Suddenly, a loud crash occurs as the mirror shatters to the floor. These sound effects coincidentally gives an unnaturalist diegetic appeal that calls to her unnatural powers due to the overwhelming effect that it holds. It could also hint towards the overbearing noise of the patriarchy clouding her mind; blocking her from her full potential. The use of screeching violins are used in the film whenever Carrie connects with her telekinetic powers. During the prom scene, this music plays to add an unsettling feeling of doom.The most notable of the sound effects comes as the bucket of blood is deposited on Carrie. At first, romantic music could be heard to provide a calm atmosphere, but this changes drastically as the prom scene becomes uncomfortably silent; though it is obvious that everyone is reacting to what has transpired on stage.The neglected use of music as well as the dialogue leaves for the sound to consist only of the bucket
The reading by Barbara Creed titled “Horror and the Monstrous-Feminine: An Imaginary Abjection”, is an in-depth examination on the role of women in horror films. Creed challenges the commanding patriarchal view, which frequently puts the woman in the position of the helpless victim. She argues that when the feminine is constructed as monstrous, it is frequently done in conjunction with its mothering role and function. Creed’s main thesis supports that the prototype of all cinematic definitions of monstrosity related to the feminine is linked to the woman’s reproductive body. Creed elects to use the term “monstrous feminine” instead of female monster, because for Creed it is the “femininity itself that is monstrous” (41). It has been unfairly
The film starts out with orchestral music, and shows James Dean's character, Jim, drunk on the ground of a sidewalk. The sound of a police siren is heard and used as a transition into the next scene that takes place, understandably, in a police station. While in the police station, Jim is yelling along with the sound of the siren, and humming loudly to give the impression that he is drunk. At one point in the scene he is brought into another room with an officer, and begins to punch a desk. The sound effects are loud, and the he pauses, and music begins again when he begins to hurt. Again, a siren is played at the transition to the next scene. However, for the most part, score music is played during all transitions.
The music correlates to the images because the slow-playing violin and soft-playing woodwinds complement the nefarious activities shown; therefore, molding a creepy and ominous tone in order to demonstrate the credulous attitudes of the audience. When thinking of demonic activities, the soul of an individual is automatically frightened, which is what the composer manipulates in the opening scene. Fenton takes advantage of this and incorporates melodic dark music to further intensify the fear of the “so-called” villain, Abigail Williams, in the
There are also loud percussion noises too. represent the thunder of the earth. This is because in Shakespeare's play the opening. scene has stage directions for a storm and the first lines spoken by The witches also support this idea: "When shall we three meet again in thunder, lighting, or rain. As the camera goes in for a close up.
Works Cited Cowie, Elizabeth. A. A. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN -. University of Minnesota Press, 1997.
Initially the audience is witness to how particular sound techniques shape this film. For instance, one of the main details that the audience hears is the song that the murderer whistles. Due to the marvel of sound the audience can pick out that the whistling is related to the murderer. Along with the blind man who figured this mystery out, the audience could only put these two together with this sound technique. The director shows the audience how such a simple part of every day sound can be so important to solving such a terrible crime.
The vast majority of sound used in the film is non-diegetic, especially the musical ideas, which is
To conclude, the shower scene presents a complex compilation of both diegetic and non-diegetic sounds. This extraordinary combination is one of the main reasons the scene stands out as one of the best throughout film history. It is important to remember that sound plays a major part in the craft of storytelling, allowing the filmmakers to convey emotions to moving images which results in a deeper and more dynamic experience to an
Carrie's Revenge in Steven King's Carrie. The novel Carrie is about the chilling story of a girl and her power. Carrie White possessed a phenomenon, known as telekinesis. movement of objects by scientifically inexplicable means, as by the exercise.
Enhancing the sustained fright of this film are an excellent cast, from which the director coaxes extraordinary performances, and Bernard Herrmann's chilling score. Especially effective is the composer's so-called "murder music," high-pitched screeching sounds that flash across the viewer's consciousness as quickly as the killer's deadly knife. Bernard Herrmann achieved this effect by having a group of violinists frantically saw the same notes over and over again.
In the scene when Amélie’s perfume cap drops to the floor and hits the wall tile, sound effects emphasize the visual image of what actually happened. Before the cap hit the floor, the background music became silent, and all the audience heard was a loud band from the cap. After the cap hit the floor, it quickly rolled, and knocked a tile off the wall. After the cap hit the tile, a loud rumble emphasized that there was importance that lied behind that wall. The director applied multiple sound effects to key the importance as to the box that was behind the wall. Although the sounds were simple, it created an interesting vibe to the audience. Some of the key sounds of the scene were the cap hitting the floor, the cap knocking the tile of the wall, and the loud rumble that occurred after the hole in the wall was created. On the other hand, this film also uses silence expressively. In the final scene, when Amélie greets Nino at her door, silence expressively describes the mood of the two characters. The only sound the audience hears is the kisses they are giving to each other, but even their facial expressions describe that they are in love with each other and meant to be
From the beginning of time in history, women have always been portrayed as and seen as the submissive sex. Women especially during the time period of the 1800s were characterized as passive, disposable, and serving an utilitarian function. Mary Shelley’s Frankenstein is a prime example displaying the depiction of women. The women in Frankenstein represent the treatment of women in the early 1800’s. Shelley’s incorporation of suffering and death of her female characters portrays that in the 1800’s it was acceptable. The women in the novel are treated as property and have minimal rights in comparison to the male characters. The feminist critic would find that in Frankenstein the women characters are treated like second class citizens. The three brutal murders of the innocent women are gothic elements which illustrates that women are inferior in the novel. Mary Shelley, through her novel Frankenstein, was able to give the reader a good sense of women’s role as the submissive sex, through the characters experiences of horrific events including but not limited to brutal murder and degradation, which is illuminated by her personal life experiences and time period of romanticism.
Being a women artist, displaying such an installation was not possible years back. Contrary to the opinions of many students new to the study of feminist literary Criticism, many feminists like men, think that women should be able to stay at home and raise children if they want to do so, and wear bras. Bringing such an art piece, reflection of her inner experiences or having sex in bed after having bad relationship could not be possible before. The main female characters are stereotyped as either “good girls” or “bad girls”. These classifications suggest that if a woman does not admit her male-controlled gender role, then the only role left her is that of a monster. Yet Emin’s confessional art- with its confidences of pregnancy, being raped, destructiveness of guilt, emotional stress- has become much common nowadays with feminist consciousness while in early generation, sharing such experiences lead to the destruction of women’s life. Her unmade bed, surrounded by such bric-bracs tells a story of a depressed, emotionally stressed women artist who asks for a sympathetic shoulder from the viewers by being a transparent soul. “For her British critics it [My Bed] expressed Emin’s sluttish personality and exemplified the detritus of a life quintessentially her own; it was, above all, confessional”, Cherry observes. Emin has limited the word ‘feminist; art practices have been the concerned of an early generation. This point seems to be confirmed by Emin herself, who declares to the discerning nature of her work in which she says that she decides to show either this or that part of the truth, which isn't unavoidably the whole story but it's just what she decides to gives us. As a self-motivated set of influences, feminism no longer titles a unitary or merging project infact it is now being the transformation just as feminist biases are perpetually subject to change. Whereas, looking at Tracey’s other work, Tent “Everyone I Have Ever
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
Different from other types of films, the music in Phantom of the Opera was used by all the characters, as a way to tell their part of the story. The music created a convincing surrounding for the film, guided the audiences. The music was constantly a signifier of emotion, as the characters expressed their feelings through the songs. The music score was an emotional and scary score that tied into their diegetic/non-diegetic singing, giving the main characters an identity, specifying situations and places to help connect certain points. When we hear the dark music play throughout the movie, it plays a certain theme, that theme gives the viewers a clear hint of who or what the music is talking about. Another example of signifier of emotion was in The Devil Wears Prada, where the film used either fast upbeat songs for when Andy walks all around the city, running errands for Miranda, or romantic alternative music when Andy is with her boyfriend and true friends (The Phantom of the Opera/The Devil Wears