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Introduction to women in horror films
Introduction to women in horror films
Introduction to women in horror films
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Vertigo is consistent with other Hitchcock films, representing women as sexual objects and a target for the male gaze. In Rear Window, LB Jefferies, played by James Stewart, is wheelchair-bound and recuperating from a broken leg. He spends time watching his neighbors from his window. Many shots in the film are filled with point of view shots from the Jefferies perspective, similar to looking through a window. Using the point of view of the man, it creates a sense of voyeurism. Jefferies watches his attractive female neighbors, Miss Torso and Miss Lonelyhearts throughout the film. Both women end up fighting off unwanted sexual advances, which is congruent with Hitchcock's portrayal of females as objects for the sexual desire of the male. It
appears that Jefferies simply expects the females in the film to endure these sexual advances by men, making them appear more like sexual objects instead of characters. Similarly, in Hitchcock's 1963 film The Birds, the main character Melanie, is a victim of gender stereotypes. Melanie is a spoiled, rich, beautiful woman who travels to San Francisco to get revenge on her Boss, Mitch Brenner. Portraying Melanie as a stereotypical female, she is seen flaunting a short skirt, high heels, and representing a "cosmopolitan" flair. Hitchcock exploits her overt beauty numerous times. For example, when introducing Mitch to Melanie, he used the perspective of Mitch in a long shot, which emphasized her legs in a sexual fashion. In Laura Mulvey’s words, she would refer to this as a typical “to-be-looked-at-ness,” as Melanie is bound to the male gaze. In a number of Hitchcock’s films, sexual exploitation is a congruent theme. Hitchcock's encouragement of femininity in his actresses' performances in his films is openly apparent. He also often portrays women as duplicitous and cunning, using their feminine charm to bend men to their will. Hitchcock’s portrayal of women was not uncommon, as most directors during this era were male and used women as sexual draws to the film. Interesting to note that Hitchcock’s own long-term relationship with his wife seems to have been one of mutual respect, as demonstrated by his reliance on her opinions and advice concerning his films. With an increasing number of women directors and more enlightened men, progress is happening in the film industry. Queer theory and the concentration towards gender assumptions are becoming less obvious as time passes.
Though complex and brilliantly written for its time, the plot of Alfred Hitchcock’s film, Vertigo, is only half of the genius behind it. Alfred Hitchcock’s unique presence as an auteur is truly what sets his films apart. There is symmetry to his shots that give the film an artistic feel, as if each frame were a painting. Many times, within this symmetry, Hitchcock places the characters in the center of the frame; or if not centered, then balanced by whatever else is adding density to the shot. For example, as Madeline sits and looks at the painting in the museum, there is a balance within the frame. To counter-act her position to the right of the painting, Hitchcock puts a chair and another painting on the left side, which is visually pleasing to the eye of the audience. The use of red and green not only adds a visual effect as well, but later serves as a clue that Madeline is not actually dead, when the women who looks like her is wearing a green dress.
In order to suit his needs Hitchcock transports the locale of Vertigo (1958) to the most vertical San Francisco city where the vertiginous geometry of the place entirely threatens verticality itself. The city with its steep hills, sudden rises and falls, of high climbs, dizzying drops is most appropriate for the vertiginous circularity of the film. The city is poised between a romantic Victorian past and the rush of present day life. We were able to see the wild chase of Scottie Ferguson (James Stewart) in search for the elusive Madeleine Elster (Kim Novak) and the ghost who haunts her, Carlotta Valdes in such spots as the Palace of the Legion of Honor, the underside of the Golden Gate Bridge at Fort Point, the Mission Dolores, Ernie’s restaurant,
...m plays a considerable role in this film. Jeffries, the films protagonist is bound to his apartment, so for entertainment he watches people through his window without them knowing. From the very beginning these characters seem to so interesting, so no wonder Jeffries decides to watch them. While watching the film, we become witnesses of their private lives, making us voyeurists too. In this film windows are not used in a traditional sense, they expose people, they symbolize confinement, and they allude to suspenseful plot devices. Hitchcock’s aesthetic configuration of the film manipulates the audience into questioning several aspects of the film and in life in general. Hitchcock’s originality in Rear Window was not only successful during the golden age of Hollywood, but it continues to be creatively adapted and consistently influential in today’s cinema as well.
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".
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
The idea of progress being inspired by the past is revisited in Fritz Lang's 1927 film Metropolis.
One major attribute in Hitchcock films is how creatively Hitchcock tricks the audience about the fate of the characters and the sequence of events. Many people argue that it is a tactic by Hitchcock to surprise his audience in order to increase the suspense of the movie. For example, in Shadow of a Doubt, the audience assumes that young Charlie is an innocent young girl who loves her uncle dearly. However as the movie progresses, Young Charlie is not as innocent as the audience suspects. Young Charlie, once a guiltless child, ends up killing her evil uncle. In Vertigo, the same Hitchcock trickery takes place. In the beginning, the audience has the impression that the Blond women is possessed by another woman who is trying to kill her. The audience also has the notion that the detective is a happy man who will solve the murder case correctly. Just before the movie ends, the audience realizes that the detective was specifically hired by a man to kill his wife. The detective, in the end, seems to be the hopeless, sad victim.
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...
...wer struggle for sexual domination through the characters of Scottie and Madeline, and also with the use of certain colors. Vertigo shows the loss of masculinity or the impotent male because of a lack of female submissiveness. The main image of the film is that of a downward spiral. This image perfectly illustrates the idea of women as man's downfall that is stressed throughout the entire film. Vertigo also tries to support gender norms for women with some of the female characters. This film is an ideal example of the sexual confusion and anxiety felt by much of American society at this time, proving that film is a cultural product.
Hitchcock Vertigo stars James Stewart as Scottie, a retired detective, and Kim Novak as Judy Barton, who gets disguised as Madeleine, a woman hired by Scottie's friend to act as his wife in order to frame Scottie. The story takes place in San Francisco in the 1950's. The film opens on a high building, where officer Scottie and his partner are in pursuit of a suspect. Scottie's partner's life is on the line, and only he can save him. Unfortunately, he has vertigo, a fear of heights.
Famously known as the “best movie of all time”, (6) Alfred Hitchcock’s Vertigo elicits a dumbfounded reaction to the first-time viewer. However, to the second, or third, or twentieth time viewer, Vertigo serves as one of Hitchcock’s most tantalizing films. A surprisingly shocking film, filled with purposeful editing, surreal sound production, and excellent acting, a cult following only makes sense to provide a testament to an almost flawless film. This obsession with the movie is a direct effect of the fascination of the main character, Scottie’s, sexual obsession. Film critics, such as Charles Barr, analyze Scottie’s sexual fascination through technical terms, such as the amount of point of view (POV) shots on female characters such as Madeleine
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.
Vertigo is an Alfred Hitchcock film that was made in 1958. It stars James Stewart as Detective John Ferguson and Kim Novak as Madeleine Ellester and Judy Barden. In Vertigo, John Ferguson has a fear of heights that results in the death of his partner. Due to this situation, he leaves the police force and became a Private Investigator. Ferguson is contact by Gavin Ellester an old college buddy. Gavin asks Ferguson to follow his wife who he believes has gone mad. Gavin believes his wife Madeleine is being possessed by her great grandmother Corlata Valdez. He explains why he has come to this conclusion and fills John Ferguson in on all the details of the case. Mr. Ferguson questions the integrity of the story, but still accepts the case. When he starts to spy on Madeleine, he begins to notice changes in her personality and similarities to Corlata Valdez's past.
To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.
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