Every month the Sound On Sight staff bands together to tackle a specific filmmaker, event and/or some sort of movie related theme. This month our focus shifts towards the “Master of Suspense”, Alfred Hitchcock.
Much has been written about the male gaze in Alfred Hitchcock’s 1958 masterpiece, Vertigo. Laura Mulvey’s seminal essay “Visual Pleasures and Narrative Cinema,” notes that the male gaze dominates Hitchcock’s work, forcing the viewer to see through the eyes of the heterosexual male (Jimmy Stewart’s Scottie, in this case) as he fetishizes and objectifies Kim Novak through his point-of-view and Hitchcock’s camera.
The famous “following” scene, where an enamored Scottie follows the object of his investigation and desire, Madeleine (Novak) lasts for 12 minutes and 40 seconds.
Later, when Scottie plays Pygmalion and attempts to remake Judy (Novak again) in Madeleine’s image, the audience is again relegated to his perspective for nearly a full 10 minutes.
Much has been written about the male gaze in Alfred Hitchcock’s 1958 masterpiece, Vertigo. Laura Mulvey’s seminal essay “Visual Pleasures and Narrative Cinema,” notes that the male gaze dominates Hitchcock’s work, forcing the viewer to see through the eyes of the heterosexual male (Jimmy Stewart’s Scottie, in this case) as he fetishizes and objectifies Kim Novak through his point-of-view and Hitchcock’s camera.
The famous “following” scene, where an enamored Scottie follows the object of his investigation and desire, Madeleine (Novak) lasts for 12 minutes and 40 seconds.
Later, when Scottie plays Pygmalion and attempts to remake Judy (Novak again) in Madeleine’s image, the audience is again relegated to his perspective for nearly a full 10 minutes.
- 3/6/2012
- by Neal Dhand
- SoundOnSight
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