Academic literature on the topic 'Voyeurism in film'
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Journal articles on the topic "Voyeurism in film"
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Balakrishnan, Vinod, and Anupama Asokan Ponnamma. "The Sculptor and the Professor: Two ages of objectification by the film spectator." Catalan Journal of Communication & Cultural Studies 12, no. 1 (2020): 135–44. http://dx.doi.org/10.1386/cjcs_00018_1.
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A paradigm shift has happened in the relationship between the spectator and the woman-on-the-screen. The shift from an analogue to a digital era implies that the dynamics of objectification have also shifted irrevocably. The two ages of voyeurism are characterized, respectively, through Hitchcock’s Rear Window (1954) and Alex Garland’s Ex Machina (2014). The paper reads that the voyeur in the analogue frame of Rear Window (Jeff) is in a metaphoric relationship with the women-through-his-lens while the spectator ‐ post-2013-drawing from an archive of pornography is in a synecdochic relationship where the woman is, to invoke Shelley Jackson, a ‘Stitch Bitch’. The article posits that the telltale shift has caused a change in the materiality of the woman which has, technologically, gravitated from a celluloid frame to an algorithmic reconstitution. It means, in the digital era, the spectator‐voyeur’s relationship with and the objectification of the woman has been reset: From Pin-up to the Patchwork girl.
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Wilson, Emma. "From Lampedusa to the California Desert: Gianfranco Rosi's Scenes of Living and Dying." Film Quarterly 71, no. 3 (2018): 10–20. http://dx.doi.org/10.1525/fq.2018.71.3.10.
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Gianfranco Rosi's Fuocoammare (Fire at Sea, 2016), won the Golden Bear at the 2016 Berlinale, was shown to the European parliament, distributed to heads of state by Matteo Renzi, and has become the contemporary film most closely associated with the refugee crisis in the Mediterranean. This article considers the film alongside Rosi's earlier film about Slab City, California, Below Sea Level (2008), previously little seen in the US. Wilson argues that Rosi is more than a filmmaker of the migrant tragedy in Europe, radically important though his vision is of this moment. With and beyond Fuocoammare, all his films look at extreme experiences of living and dying. Inspired by the work of philosopher and psychoanalyst Anne Dufourmantelle on secrecy, love, tenderness and risk, Wilson considers how Rosi's films achieve a closeness to their characters: a sensory and emotional immediacy, whilst refusing voyeurism and intrusion.
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Ishaque, Nausheen, and Saba Riaz. "Claude Jutra’s Surfacing (1981) through visual spectacles: Framing female body, voyeurism and paranoia." Journal of Adaptation in Film & Performance 13, no. 2 (2020): 111–20. http://dx.doi.org/10.1386/jafp_00020_1.
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This article examines Claude Jutra’s 1981 film adaptation of Margaret Atwood’s Surfacing in terms of its focus on female body, voyeurism and paranoia. The psychoanalytic perspective of the feminist film theory, with its emphasis on visual pleasure, narcissism, the male gaze, scopophilia, fetishization of the female, the oedipal nature of the narrative and female subjectivity, provides a pragmatic groundwork for the theoretical underpinning of this study. In the same way, the film apparatus, such as editing and camera work, provides a semiotic impetus to the spectator to identify with the perfect male, and not with the distorted female. With its focus on various scenes, generic codes and aspects of the film, the paper furthermore sees how Jutra’s production validates the prejudices of the classical film narrative in the context of the female image, sexual difference, female desire and stereotyped female paranoia. Despite its narrative focus on the quest of a female protagonist, Jutra’s film conforms to the traditional model of the classical cinema wherein the woman is no more than a signifier ‐ an entity that signifies things in relation to men only.
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Vilaró Moncasí, Arnau. "A Bedroom Story." Comparative Cinema 8, no. 15 (2020): 8–24. http://dx.doi.org/10.31009/cc.2020.v8.i15.02.
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The films of Chantal Akerman explore one of the key issues in the representation of female desire: the debate about the mechanisms of a language which, according to Laura Mulvey, is based on a male gaze founded on scopophilia, voyeurism, and fetishism. This article uses the film La captive (2000) and the desire between its two protagonists, Ariane and Simon, to reconsider the link established in feminist theory between language, the gaze, and desire. My hypothesis is that the confinement of Akerman’s female protagonist, expressed through the two dimensions of submission and intimacy, takes an approach to female desire that constitutes an alternative to the forms of the gaze associated with the male tradition of representation. This approach engages in a close dialogue with the concept of desire posited by Emmanuel Levinas, whose ideas had a huge influence on Akerman’s understanding of how to film the Other, as well as the relationship between the image and its observer.
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Marker, Jeff W. "Surveillance and the Body in the Millennium Trilogy." Surveillance & Society 16, no. 2 (2018): 158–69. http://dx.doi.org/10.24908/ss.v16i2.6832.
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A growing discourse in surveillance studies is leading the field away from socially neutral theories and introducing methodologies that account for factors such as gender, race, ethnicity, class, and sexual orientation. However, scholarship on surveillance in the arts, among which voyeurism and panopticism remain dominant, has been slower to adopt models that address these sociological dimensions of surveillance. This interdisciplinary article argues for expanding the theoretical and sociological scope of scholarship on surveillance in the arts, using Stieg Larsson’s Millennium novels and the Swedish films adapted from them as a case study. This series of narratives features three scopic regimes: the state’s surveillance apparatus, the protagonist’s own surveillant gaze, and the male gaze, each of which operates on and through the body of the central character, Lisbeth Salander. These representations, as so many others, demand that we break away from the panoptic model and employ a theoretically intersectional approach. The author integrates theories from surveillance studies, feminist film theory, and the social sciences to develop such an approach.
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Zimmer, Catherine. "Surveillance Cinema: Narrative between Technology and Politics." Surveillance & Society 8, no. 4 (2011): 427–40. http://dx.doi.org/10.24908/ss.v8i4.4180.
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Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, this essay offers a historical and theoretical reexamination of the manner in which screen narrative has organized political, racial, affective, and even material formations around and through surveillance. The essay demonstrates that even when films are focused on insistently visual deployments of surveillance technologies, the narrative construction around those technologies suggests highly complex dynamics—dynamics that neither psychoanalytic conceptions of voyeurism nor Foucault’s discourse on Bentham’s panopticon can entirely account for. A visual orientation has made it these approaches which have, within the realm of cinema studies, overwhelming served to explain the formations and functions of a variety of disparate surveillance-themed narratives. A more phenomenological reading of the relations between technology and narrative, as well as a more dynamic intersection with political philosophy as is represented in the growing field of surveillance studies, allows us to see how what this essay calls “surveillance cinema” serves to consolidate the stakes of surveillance technologies and practices with greater attention to historical and structural specificity.
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Sigal, Pete. "Making Maya Men." GLQ: A Journal of Lesbian and Gay Studies 26, no. 1 (2020): 1–34. http://dx.doi.org/10.1215/10642684-7929083.
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The Franciscan friar Diego de Landa, in the mid-sixteenth century, and the Holly-wood film producer and director Mel Gibson, in the early twenty-first century, created Maya men as beings with perverted and penetrated bodies. In 1566 Landa wrote his Relación de las cosas de Yucatán, an extensive text about the Maya people. In 2006 Gibson released Apocalypto, a Hollywood film in which all dialogue was in Yucatec Maya. Landa and Gibson both argued that they showed the true Maya world, but each expressed a visceral reaction to Maya sacrifice and, in so doing, infested their own fantasies with nightmares of savage Maya men. This essay argues that by analyzing the voyeurism and fantasies of Landa and Gibson, we can come to terms with the position of Maya masculinity in modern Western imaginations. Moreover, by working to understand Landa’s and Gibson’s investments in perverse Maya men, we can think about why Western people formulate fantasies of colonized subjects. Finally, these fantasies of non-Western subjectivities can speak to the stakes involved in queer theory’s understanding of the social sphere, the heterosexual family, and the child as a sign of the future.
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Kaźmierczak, Marek. "Modernity and existence from a semiotic angle. The Voyeurism of the City in Struktura kryształu (1969), a film directed by Krzysztof Zanussi." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 22, no. 31 (2019): 103–12. http://dx.doi.org/10.14746/i.2017.31.10.
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Krzysztof Zanussi’s Struktura kryształu [The Structure of Crystals] is a film not only semiotically but also mythologically rich, in the context of myths as understood and proposed by Roland Barthes. The article explores the binary nature of the film’s symbolic layer, built upon the two distinct life realities: the metropolitan vs the rural, the prestige of an academic career vs the simplicity of a family life that the main characters chose for themselves.
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Fredrick, David. "Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House." Classical Antiquity 14, no. 2 (1995): 266–88. http://dx.doi.org/10.2307/25011023.
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Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items (mirrors, lamps, Arretine ware) suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film is adapted for this paper. According to Mulvey, film offers two pleasures: (1) scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference (culturally read as castration); (2) sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze (Polyphemus at Galatea, Actaeon at Diana) or erotic violence (rapes of Cassandra, Daphne, Auge). While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized (Narcissus, Endymion, Cyparissus), and attacked (Hylas, Actaeon, Pentheus); gender and role are sometimes deliberately ambiguous (Hermaphroditus). Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games.
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Pereira, Ana Catarina. "A infindável procura de um traço identitário: existirá uma estética feminina?" Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 77–96. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5910.
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Resumo: No âmbito das teorias feministas do cinema, e dos estudos fílmicos em geral, algumas questões têm sido levantadas ao longo das últimas décadas, nomeadamente no que diz respeito à exigência de uma maior representatividade feminina no mundo da realização e produção cinematográficas. Sendo o olhar do espectador, como Laura Mulvey sugeriu, pressupostamente masculino, treinado por realizadores com fantasias e tendências voyeuristas homogéneas, a questão seguinte seria inevitável: poderá este mesmo olhar assumir características distintas, quando mediado por uma mulher? Poderá a arte, ao contrário dos anjos, ter sexo? Existirá, neste sentido, uma “estética feminina”, como Silvia Bovenschen, em artigo homónimo, publicado em Setembro de 1976, procura antecipar? Procurá-la não implicará um aprofundar de estereótipos associados à feminilidade e à masculinidade, todos eles redutores, segundo o ponto de vista de Michel Foucault e Judith Butler, bem como a atribuição de um certo carácter de exotismo, pela falta de representatividade nos circuitos artísticos? Enunciando e debatendo os principais argumentos dos autores mencionados, propomo-nos, no presente artigo, responder às questões colocadas. Palavras-chave: voyeurismo; espectadora; ausência; receptividade; identificação. Abstract: In the context of feminist theories of cinema, and film studies in general, some questions have been raised in the past few decades, concerning the need for a greater representation of women in the world of film making and production. Accepting the idea of a viewer gaze, as Laura Mulvey suggested, supposedly male, trained by directors with fantasies and uniformed voyeuristic tendencies, the next question is inevitable: might this gaze have different characteristics when mediated by a woman? Can the art, unlike the angels, have sex? Is there, in this sense, a “feminine aesthetic”, as Silvia Bovenschen, on an article with the same name, published in September 1976, looks forward to anticipate? To look for it does not imply a deepening of stereotypes associated with femininity and masculinity, all reducers, according to the point of view of Michel Foucault and Judith Butler, as well as the assignment of a certain exoticism’ character, motivated by the lack of representation in the art circuit? Outlining and discussing the main arguments of the authors above mentioned, we propose, in this paper, to answer these questions. Keywords: voyeurism; female spectator; absence; receptivity; identification.Resumen: “Las mujeres son diferentes, y una manifestación natural de esta diferencia (nota bene!) es precisamente el hecho de que son incapaces de producir arte.” (Bovenschen, 1976: 115).Haciéndose eco del paralelismo ya realizado por Simone de Beauvoir en el ensayo El segundo sexo, Silvia Bovenschen vuelve, en un artículo publicado en 1976 que nos proponemos discutir aquí, a la asociación asumida entre una perspectiva descriptiva masculina y la verdad absoluta. En su opinión, el dominio de la producción artística por el género masculino habrá originado una inaccesibilidad y una extrañeza relativas a la otra mitad de la población, que se denuncia por el carácter de exotismo que muchos críticos votaron a los pocos, y de cierta forma lejos entre si mismos, objetos culturales producidos por las mujeres, a lo largo de la historia. Otra consecuencia natural de este fracaso, descrito por el uso del término déficit, importado del lenguaje economicista, todavía sería, a nuestro juicio, una segregación de la dicha producción en una sola clase: una escritura femenina, una mirada femenina, un rasgo femenino. Con la restricción, la incertidumbre se multiplica: la escritura femenina es la que centra su atención en mujeres fuertes y decididas, la que demuestra una sensibilidad y capacidad de observación característica de un género, o la que construye una narrativa entrecruzada, por la sociológicamente establecida capacidad de realizar múltiples tareas asociadas al mismo sexo?
Dissertations / Theses on the topic "Voyeurism in film"
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Rashidi, Bahareh. "Divided screen : the doppelgänger in German silent film." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/6578.
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The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experience of modernity and on the medium of cinema. The thesis begins by considering the relationship between the theme of the double, born circa 1800, and the burgeoning visual regimes of modernity. Important aspects of this relationship are the abstraction of representation from stable referents in the aftermath of Kantian thought, the empirical study of the observing subject, and the development of new technologies of recording and projection. Nineteenth-century technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well as the itinerant showmen who displayed them, gave rise to doubles of the human body with uncanny effects of ontological uncertainty. These not only influenced the doppelgänger stories of German Romanticism and after, but also were ancestors of cinema’s doubles and their showmen. This study considers the “cinematic” themes of a set of stories and films of the double, including repeatedly performed scenarios of exhibition and voyeurism, visual pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema and media technologies. The central chapters of the thesis offer readings of five classics of German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926). Addressing the double as a reflexive theme of optical uncertainty, these readings focus on how moments of optical distress are depicted and how film language is used to construct a cinematic uncanny: an ontological problem arising from the ambivalent character of visual experience that affects the narrative and film form, characters and spectator alike. This perspective sheds light on the historical significance of the double theme, revealing its close relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.
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Polley, Kerry A. "Ceci n'est pas un film visual perception in Michael Haneke's 'Caché' /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1250228246.
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Wilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.
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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in the viewer's body. Combining close textual analyses with theoretical approaches, this thesis draws upon psychoanalytic, phenomenological and feminist theories of film and spectatorship. Throughout the chapters, my argument builds upon the work of Vivian Sobchack and Laura Marks in order to interrogate further what might be meant by the notion of the embodied spectator. The chapters explore this notion, alongside that of the film viewer, to generate a dialogue with previous theorists of the cinematic spectator, including Christian Metz and Richard Rushton. Exploring through close textual analyses the specific filmic techniques that generate intense physical responses, this thesis argues that the mutilation film demands a rethinking of some of the key categories in theories of spectatorship. Extending across national cinemas and reaching beyond conventional generic distinctions, the mutilation film produces a visceral aesthetic that has yet to be analysed. Focusing on particular aspects of the mutilation film, such as the assault narrative sequence, use of extreme frequencies and haptic sounds and images, the thesis offers detailed readings of the following texts: Dans Ma Peau (Marina de Van, 2002), Irréversible (Gaspar Noé, 2002), Saw II (Darren Lynn Bousman, 2005) Saw III (Darren Lynn Bousman, 2006) Saw IV (Darren Lynn Bousman, 2007) Saw V (David Hackl, 2008) Saw VI (Kevin Greutert, 2009) Saw 3D (Kevin Greutert, 2010), Hostel (Eli Roth, 2005), À l'intérieur (Alexandre Bustillo and Julien Maury, 2007), The Human Centipede: First Sequence (Tom Six, 2009) and The Human Centipede: Full Sequence (Tom Six, 2011).The analyses that form this thesis demonstrate the problems with separating notions of the 'spectator as textual construction' from that of the 'viewer as physically embodied'; yet these readings also indicate the necessity of continuing the task of conceptualising their interrelatedness, rather than simply using them interchangeably. The conclusion argues that the concept of physical spectatorship offers one way to understand how particular contemporary aesthetics have reconfigured the boundary between viewer and film.
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Hillbert, Frida. "Att hitta njutning i den biologiska skräcken : Ett undersökande av den kvinnliga kroppen i den samtida biologiska skräckfilmen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99217.
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Den biologiska skräcken eller kallad på engelska body horror är en subgenre av skräck som visar människokroppen i syfte till att kränka, kroppsligt eller psykologiskt för att framhäva en obehaglig och skrämmande känsla hos åskådaren. Teman som avvikande kön, mutationer, zombiefiering eller onaturliga rörelser av kroppen är vanliga inom denna genre. Syftet med denna uppsats är att undersöka den kvinnliga kroppen i de tre samtida psykologiska skräckfilmerna Black Swan (Darren Aronofsky, 2010), Suspiria (Luca Guadagnino, 2018) och Horse Girl (Jeff Baena, 2020) med fokus på den kvinnliga kroppen och dess effekt hos åskådaren. Anledning till att just dessa tre filmer används i min undersökning beror på att de alla använder den kvinnliga kroppen som ett verktyg för att framkalla den biologiska skräcken som sedan skrämmer åskådaren. I stället för att välja tre liknande filmer har jag försökt välja filmer som använder sig av samma genre men på olika sätt. Varför är vi fascinerade av grafiska bilder av det kroppsliga? Hur används den kvinnliga kroppen i koppling till något äckligt och obehagligt för att skapa känslor hos åskådaren? Genom att applicera olika psykoanalytiska och feministiska teorier på de tre filmerna, kommer uppsatsen undersöka hur den kvinnliga kroppen används i koppling till något skrämmande samt diskutera den kroppsliga reaktionen åskådaren får och varför vi använder oss av detta när vi skapar en film inom genren skräck. Jag kommer ta hjälp av begrepp som fetischism, voyeurism, den nyfikna blicken och abjektion.
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Polley, Kerry A. "Ceci n’est pas un film: Visual Perception in Michael Haneke’s Caché." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1250228246.
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Perampalam, Meera. "Surveiller et Cadrer. Les caméras de surveillance dans le cinéma des années 1990 à nos jours." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA047.
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L’état de surveillance dans lequel est plongée la société contemporaine contraint à ériger des dispositifs spécifiques de sécurité. Les méthodes de surveillance utilisées relèvent principalement de l’observation et de l’écoute. De ce fait, le septième art, jouant sur « l’audio – visuel », se serait réapproprié certains de ces dispositifs comme celui de la caméra de surveillance.Ce travail de recherche s’inscrit dans le courant des Visual Culture Studies, etcherche à faire l’archéologie puis l’analyse d’un regard particulier, tel que le cinéma de fiction l’actualise très souvent depuis plusieurs années, celui des caméras de surveillance. Ainsi, la prolifération de ces images de surveillance dans les filmsmontre l’impact de phénomènes sociaux dans la représentation tant des images desautorités, que celles produites par les citoyens A travers les concepts de la surveillance, en passant par ceux de la sousveillance, la caméra de surveillance aucinéma apporte des points de vues divers sur le monde qui nous entoure en puisantégalement dans des représentations hybrides via l’intermédialité proposée par les films<br>The contemporary society is immersed in a state of surveillance, which forces it to set up specific security devices. The surveillance techniques used are mainlybased on observation and listening. Thus, cinema, as an audio and visual art has adopted some of these devices, such as the surveillance camera.This research takes part in the Visual Culture Studies, and aims to offer anarcheological description followed by the analysis of a specific gaze, that of the surveillance cameras, which has often been actualized over the past several years through narrative cinema. Consequently, the increased presence of thesesurveillance images in the movies shows the impact of social phenomenons in the representation of images produced by the authorities and those produced by private citizens. With the notions of surveillance and sousveillance, the surveillance camerain cinema displays several points of view of the world that surrounds us, using also hybrid representations through the intermediality offered by films
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Homman, Lina. "AVVIKANDE KROPPAR I DET SAMTIDA TV-UTBUDET." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6604.
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<p>This thesis discusses the representation of bodies in todays non-fiction television in Sweden. I have chosen to focus on deviant bodies (sexual, deformed or unhealthy) on display in reality-shows and documentaries on SVT, TV4 but especially on the commercial channels TV3 and Kanal5. Also discussed are the viewers emotional and bodily reactions. Altough these shows are different from one another in many respects, I argue that there is also a common thread between them. From a sociological and cultural perspective, and with help of some historical examples, I try to illustrate how we view these shows and what their function is. I conclude that the body is a site of powerstruggle and that these shows have many different levels of meaning. We cathegorize and value these deviant bodies but also our own. It is about making creating a ”us and them” and in the long run it has to do with making class and identity. The voyeuristic pleasure in watching these people displayed on TV is made possible from the safe distance of our livingroom.</p>
Books on the topic "Voyeurism in film"
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Cooper, L. Andrew. Interviews with Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0002.
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This essay presents two interviews with Dario Argento, one conducted by Élie Castiel and the other by Stephane Derderian. In the Castiel interview, Argento talks about early influences on his career; his approach to every film; eroticism and sadism as well as the question of voyeurism in his work; the importance of objects in the genre films that he has made; and the future of horror films. In the Derderian interview, Argento shares his thoughts on the bloodiness in Deep Red; what the subject of visual memory that often comes up in his films such as The Bird with the Crystal Plumage represent for him; the place of homosexuality in his films; why people who see his films don't look for a suspect as much as they look for a truth; the psychology of the murderer vs. the psychology of the investigator in his films; and the presence of the world of painting in Deep Red, The Bird with the Crystal Plumage, and The Stendhal Syndrome.
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Heins, Laura. An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0002.
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This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.
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Sannwald, Daniela, ed. Michael Haneke. edition text + kritik im Richard Boorberg Verlag, 2011. http://dx.doi.org/10.5771/9783869168845.
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Michael Haneke, 1942 in München geboren und in Wien aufgewachsen, versteht sich als Regisseur, der seine Zuschauer beunruhigen will. Für seinen "Das weiße Band" (2009) ist er 2010 für einen Oscar nominiert worden. Haneke, der seine Drehbücher selbst verfasst, gehört zu den international renommierten deutschsprachigen Regisseuren. Seine Arbeiten, die sich seit "Bennys Video" (1992) stets mit den Zuschauererwartungen beschäftigen und diese bewusst enttäuschen, werden von der internationalen Kritik begeistert aufgenommen und regelmäßig auf Festivals ausgezeichnet. Michael Haneke hat in Österreich, Deutschland, Frankreich und den USA gearbeitet, Literatur von Franz Kafka ("Das Schloss", 1997) und Elfriede Jelinek ("Die Klavierspielerin", 2001) adaptiert, politische Parabeln wie "Caché" (2005) und 2Das weiße Band" inszeniert und sich in allen seinen Filmen mit Konzepten wie nationales Gedächtnis, Schuld, Voyeurismus und Erbsünde beschäftigt. Die Autorinnen und Autoren dieses Heftes stammen aus verschiedenen kulturwissenschaftlichen Disziplinen und befassen sich unter jeweils spezifischem Erkenntnisinteresse mit Hanekes Werk, angefangen von seinen Fernseharbeiten für den ORF in den 1970er und 1980er Jahren bis hin zu seinem bisher letzten Film "Das weiße Band".
Book chapters on the topic "Voyeurism in film"
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Wilson, Laura. "Embodied Voyeurism." In Spectatorship, Embodiment and Physicality in the Contemporary Mutilation Film. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137444387_2.
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Murray, Terri. "Exploring the ‘Male Gaze’." In Studying Feminist Film Theory. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325802.003.0002.
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This chapter discusses the three kinds of cinematic ‘look’ that Laura Mulvey associated with the ‘male gaze’. Mulvey's psychoanalytic examination of the pleasures generated by cinema included scopophilic, voyeuristic, and narcissistic pleasures. She argued that fetishistic scopophilia, unlike voyeurism, emphasises the physical beauty of the object. The object is transformed into something satisfying in itself, set apart from story and character involvement. This is illustrated with reference to Helen Faraday (Marlene Dietrich) in Josef von Sternberg's Blonde Venus (1932). Despite the story being about a woman and her predicament in patriarchal society, viewer identification is exclusively with male characters, and Helen is always an object for male spectators within the film and within the cinema. The chapter then contrasts von Sternberg with Mulvey's other key example, Alfred Hitchcock. Instead of merely presupposing male scopophilia/voyeurism, Hitchcock knowingly comments on these phenomena, making them the subject of his films. Though not mentioned by Mulvey, Psycho (1960) is offered as a case study in how the horror/slasher genre developed conventions that generated scopophilic and narcissistic pleasures for male viewers, perhaps catering to violent male fantasies.
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Gardner, Hunter H., and Amanda Potter. "Violence and Voyeurism in the Arena." In STARZ Spartacus. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407847.003.0014.
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This chapter explores the different forms of violence portrayed in the series—principally the gladiatorial violence in the arena; violence in the streets, including beatings and murders; and sexual violence perpetrated on slaves but also on Roman citizens. It points out that through scenes of graphic bodily dismemberments and eviscerations, the series asks its audience to contemplate the difficult distinction between morally justified bloodshed and the fetishized conventions of gore, conventions popularized in various subgenres of the horror film, in particular the “splatter film” and the “meat flick.” Despite its slippery tendency to celebrate violence both attached and unattached to a moral perspective, the chapter maintains that the series offers a unique window on the embodiment of violence in the ancient world.
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Hughes, Emily. "Themes." In Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.003.0009.
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This chapter explores the key themes within Pedro Almodóvar's Talk to Her (2002). These include loneliness, communication, suicide, faith, and age. Throughout the film, different modes of communication are explored, such as non-verbal and physical communication, miscommunication and misunderstanding, gossip, trash talking, storytelling, monologue, physiognomy, using music to communicate feelings, and the importance of what is left unsaid. All three suicides in the film can be interpreted as forms of communication. Meanwhile, on first viewing of the film, age seems like a fairly irrelevant theme; however, when one re-watches and analyses scenes again, age becomes more of a problematic issue, made even more apparent when one considers the casting choices. Other themes in the film include the refusal to accept gender stereotypes or gender as a social construct, the body, and voyeurism.
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Pippin, Robert B. "Cinematic Self-Consciousness in Hitchcock’s Rear Window." In Metacinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0002.
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The claim in this chapter is that the “rear window ethics” that Rear Window explicitly raises as a question does not primarily concern the ethics of voyeurism, but the norms of cinematic viewing, and the metaphorical dimensions of the main character’s passive, detached, observational attending. The film is shown to be cinematically self-conscious, to embody a conception of itself that primarily concerns this issue. The connection between such a theme and the romantic plot between James Stewart’s character and Grace Kelly’s is demonstrated. The question posed by Raymond Burr’s character in the finale, “What do you want from me?” is shown to be double-edged, to be an expression of Hitchcock’s demand on the audience, after the film has shown what he expects from the viewer (and rarely receives).
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Hughes, Emily. "Introduction." In Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.003.0002.
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This introductory chapter provides an overview of Pedro Almodóvar's Talk to Her (2002). The film offers much, both in terms of thematic analysis and micro analysis of the sound, performance, cinematography, editing, and mise-en-scène. Almodóvar can be considered to be a director who is a specialist in gender and the issue of gender identity is explored in Talk to Her, particularly the notion that gender characteristics are fluid and not fixed. Almodóvar's characters simultaneously embody and reject gender stereotypes and share both feminine and masculine attributes. Most of all, what makes Talk to Her such an interesting film to dissect, is the uneasy position that Almodóvar places the spectator in and how its messages and values create moral ambiguity. The film delivers morally complex, hazy messages about rape, voyeurism, and obsession and consequently, the spectator finds humour where they should find revulsion and sympathy where they should find anger. As a result, the film has sparked a great deal of critical, theoretical, and philosophical analysis, particularly around the issue of rape.
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Gediman, Helen K. "Voyeurism, sadism, and the primal scene in film portrayals of stalking and in filming itself." In Stalker, Hacker, Voyeur, Spy. Routledge, 2018. http://dx.doi.org/10.4324/9780429480447-5.
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Potter, Susan. "Looking Backward." In Queer Timing. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042461.003.0006.
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This chapter focuses on an expanded visual archive that is emblematic of the intermediality of early cinema: the electric light dance performances of late-nineteenth-century celebrity Loïe Fuller and their early film copies. The chapter argues that Fuller’s on-stage performances, and the cinematic remediations that imitated her disembodied modes of performance, represent a specific response to, and transformation of, conditions of vision, practices of looking, and modes of voyeurism that had until recently been cultural norms for women. Fuller’s visual archive suggests how the developing sexual subjectivities of female spectators were already bound up in proto-cinematic forms of spectatorship that turned on the visual pleasures of the moving female body. Appropriating and reorienting the sexuality effects of late-nineteenth-century visual culture, Fuller’s performances sustained a paradoxically disembodied and depersonalized homoerotic mode of spectatorship.
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Krstić, Igor. "Introduction." In Slums on Screen. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406864.003.0001.
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The chapter first outlines the book’s scope and its aim to reconstruct two developments while trying to weave them together: accelerated urbanisation and the rise of an increasingly interconnected global film culture. Considering the enormous amount of slum-dwellers around the globe as well as the ‘global archive’ of still and moving imagery that we have of slums in cities as diverse as Victorian London or modern-day Mumbai, the author argues that in approaching ‘slums on screen’ one needs to take the historical processes of globalisation into account, since they have profoundly shaped both ‘world cinema’ and our ‘planet of slums’. While acknowledging the ethical and political concerns that have continuously been raised by critics – most recently in regard to the enormously popular Slumdog Millionaire (Boyle 2008) – Krstić argues to watch out for hasty accusations of social voyeurism, arguing instead for an approach that is anchored in historical-contextual analyses of representative examples. Taking the notion of ‘global complexity‘ (Urry) as a clue, and departing from Stam and Shohat’s Unthinking Eurocentrism (1994) as well as from recent scholarship on world cinema (Nagib, Andrew et. al.), the author outlines a ‘polycentric approach to world cinema’s planet of slums’.
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Gorfinkel, Elena. "Watching an “Audience of Voyeurs”." In Lewd Looks. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517900175.003.0005.
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Traces the reception of sexploitation film in the latter half of the 1960s, as pornography and obscenity begin to resonate publicly as national problems. It analyzes varied responses of audiences, critics, countercultural observers and researchers to the sexploitation film in the latter part of the decade, as the “adult film viewer” becomes an object of concern and anxiety, derision and curiosity.