Essay On Klute By Laura Mullvey

1316 Words3 Pages

Rubin Rosenblith
Massood Film 3122
According to Laura Mulvey, women function on two levels in Hollywood classical cinema: as an erotic object for the character in the diegesis, and as an erotic object for the spectators in the theater. Explain Mulvey’s argument and apply it to either Klute or Jeanne Dielman. (your answer should not be confined only to examples of men looking at women, but may also consider the possibility of women looking at women.) If Mulvey is correct, can women ever function as active participants in the narrative? How does the film support or negate tgis point? In Visual Pleasure and Narrative Cinema, Mulvey states that, “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.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she draws attention away from the narrative. The film Klute, directed by Alan J. Pakula attempts to subvert this theory, but ultimately proves Mulvey correct in the system of the active male and passive female, that the male controls the film and drives the story forward. Jane Fonda’s character, Bree Daniels, sees herself at the …show more content…

It is this route that Klute takes. Over the course of the film Klute works towards domesticating Bree and very nearly succeeds. This is where Pakula attempts to subvert the tradition of “happily ever after.” In a final voice-over conversation with her therapist, Bree discusses her concerns over the future of her relationship with Klute. She doesn’t feel that she could possibly fit in a small town. The film ends on an open-ended note with Bree telling her therapist that she will likely return within a

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