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Abnormal psychology in films
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There are several parallels between Jeff’s relationship with Lisa and the scenarios he observes voyeuristically. These parallels are especially striking between Jeff, Lisa and the Thorwalds, but in this case we can observe that the gender roles are reversed. Mr. Thorwald and Lisa are always active and dominantly standing over their counterparts, while Mrs. Thorwald and Jeff are immobilized in one space and passive. When Mr. Thorwald brings his wife a rose, he shows a desire for a loving relationship, but Mrs. Thorwald laughs at him. Lisa, on the other hand, isn’t even able to get Jeff’s attention by smothering him with affection while sitting on his lap. Laura Mulvey argues in Visual Pleasure and Narrative Cinema that in virtually every visual
“Men are from Mars, women are from Venus” as the famous saying of John Gray goes. It is believed men and women are nothing alike in almost every aspect. In Deborah Tannen’s essay “Gender in the classroom: Teacher’s Classroom Strategies Should Recognize that Men and Women Use Language Differently” she focused on how men and women differ when it comes to communicating, with emphasis on how it effects to how men and women behave in the classroom.
She is transformed into a character, to create a story or image, for an active imagination of a males mind. Throughout history and present time women have been the objects in which are meant to be looked at. Since men were mainly in control of the camera, the film is viewed from a heterosexual male perspective. It has been noted that the sexualisation of the female body, are used in situations where sexiness isn't relevant to the product being advertised. Mulvey stated that females and males were categorised through different facial expressions, women were invitational, super-smiler, romantic or sexual. While men facial expressions were perceived as carefree, practical, comic, catalogue. This representing how women were represented in the media as females facial expression are dictated to please a male spectator being ‘invitational’, they are charming the opposite sex, wanting more from them but the males are acting like they are already admired, they are self content with themselves, unlike the females. Like Laura Mulvey said “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive female”, meaning women will always be the objects and submissive while men will always be the subject and
In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to be connote to-be-looked-at-ness” (487). Mulvey makes the claim that women are presented and primped into this role of “to-be-looked-at-ness”. They are put into films for this purpose and for very little other purposes. However, this argument cannot be incorporated with The Treasure of the Sierra Madre; the existence of women in the film is extremely insignificant to an extent that could be considered absent. “In a world ordered by sexual imbalance,” male serves as the dominant figures with which the viewer can identify, women only appear in the film for a very short moment of time. For instance, the appearance of women is only shown when Howard rescues the ill child in the village and his return to the village for hospitality reception...
In the theory “Doing Gender” by Candace West and Don H. Zimmerman negate the fantastic qualification between the social built “gender” instead of the natural “sex”. Rather they contend for a more mind boggling relations in the middle of social and physical components. In this theory by West and Zimmerman the meaning of gender is a sociological one which depends on codes and traditions that are at the establishment of regular exercises. “Doing Gender” intends to perform complex societal exercises of discernment, communication and of micro politics which characterize certain exercises and interest and manly or female. Conventional sex discernments perspective man and woman as regular and unequivocal classifications. They believe “doing gender” is through the garments you wear, the way you talk, etc. Basically, doing gender alludes to carrying on or thinking in a way that
“Gender roles are absurd” is a prominent theme in Lorraine Hansberry’s novel, A Raisin in the Sun. Through the use of her character’s personalities and their relationships with one another, she conveys this.
Gender difference is always exist since the birth of human. In all ages, female is usually be in weak position compare to male. As Tanne said, there is no unmarked women. Why there is no unmarked woman? Because most of females are effected by males judgment. Therefore, i strongly agree with Tanne’s idea that there is no unmarked woman, and women has there own right to chose will be marked or not.
According to the feminist film theorist, Laura Mulvey, one of the most important pleasures of the classical narrative is identification. This is send to occur when the spectator narcissistically identifies with an idealized figure on screen, typically a male hero whose actions determine the narrative, in a process that recapitulates the discovery of the image of oneself in the mirror phase. For the scene just discussed, the idealized figure is Vincent, whom the spectators personally identifies with.
In both plays “A Doll’s House” and “The House of Bernarda Alba”, domination and love have been key elements in the development of the plays. Characters that are by nature dominating over their family portray love in many different ways. Love is not as easy to interpret from these characters as compared with the straightforward Aunt Polly in “The Adventures of Tom Sawyer”. Love is defined in the characters of Torvald and Bernarda in the form of domination. Torvald is a lot more subtle about his feelings and more open for interpretation, while Bernarda is more complex and closed in the form of expressing love.
An innumerable amount of movies involves forcing the audience to participate in the male gaze upon a feminine body. In Robert Altman’s The Player (1992), the audience experiences the hard realities that are associated with the Hollywood/film industry. However, during this story of betrayal and murder, the audience becomes exposed to the male gaze, an act that men perpetrated against women. Early on in the movie, the protagonist, Griffin Mill (Tim Robbins), has a friendly conversation with June Gudmundsdottir (Greta Scacchi) while watching her from outside of her house. Examining the staging, sound, and acting displayed in this sequence contributes to the understanding how The Player normalizes the male gaze and reinforces the power imbalance between men and women.
As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very act of filming" (Kaplan 15). The gaze is associated with subjectivity and control and as Kaplan later suggests in the chapter "Is the Gaze Male?", "to own and activate the gaze...is to be in the masculine position" (Kaplan 30). Therefore the visual pleasure in cinema is mainly geared towards a male spectator who maintains subjectivity and a sense of voyeurism, while his female counterpart must be both subject and object, she must see herself being seen.
In Rear Window, Alfred Hitchcock took a plot-driven short story and transformed it into a character-driven movie. Although differences must exist between text and film, because of the limitations and advantages of the different media, Hitchcock has done more than translate a word-based story into a visual movie. Aside from adding enough details to fill a two-hour movie, Hitchcock has done much to change the perspective of the story, as well as the main character. The novel’s Hal Jeffries, a seemingly hard-boiled and not overly intellectual man contrasts sharply with the photojournalist J.B. Jeffries of the movie. The addition of supporting characters, such as Lisa, diminishes somewhat the loneliness of the short story character. The character in the short story has more in common with Humphrey Bogart’s Sam Spade than with Jimmy Stewart’s Jeff. That Hitchcock took a story written in a style similar to Dashiell Hammett or Raymond Chandler, and chose not to make a film noir detective story speaks much to Hitchcock’s purpose here. Rather than creating a conventional detective story, Hitchcock creates an everyman, whose injury prevents him from action. The impotence the character feels heightens the tension of the film, as well by forcing the viewers to identify with his frustration. The movie disguises the many of the darker moments with humor, a device commonly used to lessen the shock of less acceptable aspects of a story. While the story was merely the narrative of one man, the film portrays different concepts of, and stages of love, in the images of the people across the way. The story is a guiltily related narrative of one man’s voyeurism, repeatedly rationalized by him. B...
Susan Glaspell's play, "Trifles", attempts to define one of the main behavioral differences between man and woman. For most of the story, the two genders are not only geographically separated, but also separated in thought processes and motive, so that the reader might readily make comparisons between the two genders. Glaspell not only verbally acknowledges this behavioral difference in the play, but also demonstrates it through the characters' actions and the turns of the plot. The timid and overlooked women who appear in the beginning of the play eventually become the delicate detectives who, discounted by the men, discover all of the clues that display a female to be the disillusioned murderer of her (not so dearly) departed husband. Meanwhile, the men in the play not only arrogantly overlook the "trifling" clues that the women find that point to the murderer, but also underestimate the murderer herself. "These were trifles to the men but in reality they told the story and only the women could see that (Erin Williams)". The women seem to be the insightful unsung heroes while the men remain outwardly in charge, but sadly ignorant.
The cinema has deviously played on the voyeuristic characteristics of humans, something unknown to the average “innocent” minded audience. The dark, separated setting of the theatre provides the perfect breeding ground for these hidden urges within us all (Mulvey 60). Film has long manipulated these voyeuristic ideals in humans incorporating them into the diegesis of the work; painting perfect scenes that make the audience feel as if they are secretly viewing these real-life, private, and intimate moments between two celebrities on screen. While incorporating also the theory of the “male gaze,” audience members are hypnotized under the director’s and male lead’s spell, continually bringing them crawling back for more.
Stephen's relationship with the opposite sex begins to develop early in his life. Within the first few pages of the novel lie hints of the different roles women will...
Looking at classic Hollywood films, Laura Mulvey has deduced in her work in 1975, “Visual Pleasure and Narrative Cinema” that the industry’s films are made for the male gaze. She emphasises that these movies are dominated by the heterosexual male’s pleasure in looking at the female. Later in another one of her works in 1981, “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’”, she goes on to say that no matter what the gender of the audience is, when it comes to them watching what is on a screen as a spectacle, the spectator will always have a male gaze. When looking at the male gaze (from Mulvey’s point of view) as the projection of one’s fantasies onto the female body while watching it on the screen, regardless of one’s gender, one