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VISUAL PLEASURE AND NARRATIVE CINEMA - Coggle Diagram
VISUAL PLEASURE AND NARRATIVE CINEMA
Political Use of Psychoanalysis and Destruction of Pleasure
A Political Use of Psychoanalysis
Destruction of Pleasure is a Radical Weapon
Pleasure in Looking and Fascination with the Human Form
Scopophilia
Scopophobia
Woman as Image.
Man As Bearer of The Look.
Active/male and passive/female as erotic object for the male characters within the screen story and for the spectator within the cinema
determining male gaze projects its phantasy onto the female figure which is styled accordings
presence of woman is an indispensible element of spectacle,yet her visual presence tends to work against the development of a story line and freeze the flow of action in moments of erotic contemplation
active homosexual eroticism of the central male figures can carry the story without distraction
Male figures cannot bear the burden of sexual objectification and is relectant to gaze at his exhibitionist like. Instead, he sees his male surrogate as a more complete, more perfect, more powerful ideal ego conceived in recognizing himself in the mirror
The man controls the film phantasy and emerges as the representative power: the bearer of the look of the spectator onto the woman as spectacle
Spectator identifies as a male protagonist and he projects his look onto his screen surrogate and hence has the power of to control the events and the erotic look: giving the spectator omnipotence
Here, the function of film is to reproduce as accurately as possible the natural conditions of human perception: deep focus and invisible editing all blur the limits of screen space and the male protagonist is free to command the stage of spatial illusion
Three different look associated with cinema.
1) the camera as it records the pro-filmic event
2) the audience as it watch the final product
3) the characters at each other within the screen illusion
But the conventions of narratives subordinate them to the third
eliminating intrusive camera presence and prevent a distancing awareness in the audience.
there must be an absence of the first two (the material existence and spectator) in order to achieve immersiveeness and create a world in which the spectator's surrogate can perform with illusion of reality, where ideology of representation revolves around the perception of the subject
Anxiety of Castration
The woman threatens to evoke the anxiety of castration
2) fetishistic scopophilia that transforms into satisfaction
pre-occupation with the re-enactment of investigating the woman and demystifying her mystery, counterbalanced by punishment or saving of the guilty object
complete disavowal of castration by the substitution of a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than dangerous
1) voyeurism: pleasure in ascertaining guilt from watching and asserting control and subjecting the woman through punishment or forgiveness
Hitchcock goes intot he investigative side of voyeurism and obsession, fetishistic fascination. HItchcock uses the process of identification under ideological correctness