Male Dominancy In Alfred Hitchcock's Movies.

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Erdem Alagöz Research Techniques 29 May 2009 Adam Knows Too Much, Eve Knows That Adam Knew Too Much Tania Modleski considers Hitchcock’s films as the center of the appearance of feminist film theory and of the usage of feminist film criticism in her book The Women Who Knew Too Much: Hitchcock and Feminist Theory. She also addresses Laura Mulvey’s essay “Visual Pleasure and Narrative Cinema” as the leading source of psychoanalytic feminist film Alagöz 2 Rear Window shows the importance of the roles of men and women. Jeff is afraid of being in a deep relationship with Lisa because of her being excellent and “too feminine.” He sees her as a threat to his manly profession and can’t accept both as a whole. It looks as if Jeff and Lisa will give an end to their relationship for the long part of the film; however Lisa is determined to endure for it. Jeff’s approach to Lisa completely changes only after she starts to be more reckless, brave, and masculine. Thorough the technique of “audience as a voyeur” Hitchcock shows the spectator that Jeff is a representative figure for him (Condon and Sangster 190-91). In his book, _Hitchcock’s Bi-Textuality: Lacan, Feminisms, and Queer Theory, _Robert Samuels, referring to Mulvey’s article “Visual Pleasure and Narrative Cinema” states that the “gaze” is equal to the masculine point of view, that is, basically male characters rule female Alagöz 3 ones by intentionally visualizing them as objects. Additionally he considers voyeurism as equal to this visual overwhelming sexual thought (109). According to Samuels, Mulvey applies this reverse usage of the gaze to an evaluation of Rear Window. Mulvey argues that “Hitchcock’s skillful use of identification processes and liberal use of subjective
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