Status Updates From Visual Pleasure and Narrati...

tra ma pean enda materjale goodreadsi märkima et mul motivatsioon ära ei kaoks

Unique impact of film as the artistic medium:
"None of these interacting layers is intrinsic to film, but it is only in the film form that they can reach a perfect and beautiful contradiction, thanks to the possibility in the cinema of shifting the emphasis of the look. […] Going far beyond highlighting a woman's to-be-looked-at-ness, cinema builds the way she is to be looked at into the spectacle itself." (p. 14)

The ‘double gaze’ enabled by cinema as a medium:
“Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (p. 7)

Female definition via relative/relegated role (Budd Boetticher):
“What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.” (p. 7)

Origins of the ‘male gaze’ theory:
“In a world ordered by sexual imbalance, pleasure in
looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure… In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact…“ (pp. 6-7)

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

'What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.'

[...] the silent image of woman still tied to her place as bearer, not maker, of meaning.

There is no doubt that this destroys the satisfaction, pleasure and privilege of the 'invisible guest', and highlights how film has depended on voyeuristic active/passive mechanisms. Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret.

Far from being simply an aside on the perversion of the police, Vertigo focuses on the implications of the active/looking, passive/looked-at split in terms of sexual difference and the power of the male symbolic encapsulated in the hero.