...Both Vertigo and Laura raise the idea of masculinity, and it's place and role in society and character. The relationships in both films, particularly those between the male protagonists and women, highlight the differing ideas of masculinity. The character of Scottie in Vertigo highlights how relationship with women can greatly effect the idea of masculinity, whereas this is reversed in Laura, when the title character Laura shows how she greatly changes the concept of masculinity through three differing male characters. The relationship between detective John, or Scottie, Ferguson and his friend Midge Wood is one of the more interesting looks at male and female identities in the film. Robin Wood points out that the scenes in which both Scottie and Midge are both present place a strong emphasis in their communication difficulties. (Wood, 1989) Midge seems to treat Scottie more as a mother than as a friend. Whether this is in an attempt to ease the pressure off Scottie with his vertigo, she constantly talks down to him. This is highlighted when Midge attempts to explain her bra to him, telling Scottie that "You know about these things. You're a big boy now." Scottie recognises this relationship, going as far as to tell Midge "Don't be so motherly." (Modleski, 1988) Another scene in which these two appear is when John attempts to overcome his vertigo by climbing a stepladder. This scene also highlights the mother-son relationship these two seem to have, as Midge warns Scottie...
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...Alfred Hitchcock's 1958 Vertigo is known as Hitchcock's “masterpiece” because of the use of different memorable techniques. The film is about Scottie, a retired detective due to his development of acrophobia, who was hired by Gavin Elster to spy on his wife, Madeline, due to her strange behaviors. Madeleine is apparently haunted by her dead family member, Carlotta Valdes, and as the movie progresses she becomes Scottie’s love interest and his dream girl. Looking at Vertigo through the feminist lens, it is evident that through Hitchcock’s representations of women’s appearance and their interactions with men portrays women in a negative image compared to men. This film suggests that women are inferior to men in all aspects of life, such as women’s reliance on men. Analyzing Vertigo through the feminist lens, Hitchcock is degrading women by creating their existence solely in their relations to men. For instance, Madeline is...
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...In Hitchcock’s film, Vertigo, The story revolves around the main character, Scottie who is the detective in the film that has a fear of heights known as acrophobia and his relationships with Madeleine, who is the wife of Scottie’s class mate Gavin Elster, and Midge, Scottie’s old college friend. Hitchcock uses camera work such as profile shots of Madeleine and full shots of Midge to emphasize on the fact that even though one is secretive, she dictates the main character while the other is like an open book, yet she has no genuine power over him. Madeleine is beautiful and a glamorous woman who comes from a wealthy background. Scottie becomes attracted to her in the very first scene at Ernie’s restaurant. He watches her as she sits and walks out elegantly, while he is sitting in one corner. Hitchcock captures the scene with by taking a tracking shot of the restaurant to give the viewers the feeling of the romantic ambience. The tracking shot zooms out of Scottie to the other side of the room on Madeleine, whose back is facing the camera. This suggests that Hitchcock wants to continue with the theme of suspense throughout the movie, which is why he first takes shots of Madeleine’s back to the camera, followed by the profile shot from a distance. The profile shot is marked by a wooden doorway that frames Madeleine as if she is in the spot light, which she is for Scottie. The camera then zooms in for a close up shot of Madeleine’s profile. The sharp feature of the profile shot highlights...
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...Nia Nguyen A Blame on Nothing and Nothingness Abject: A Rereading of Vertigo “In a male libidinal economy… the only good woman is a dead woman.” Slavoj Zizek, A Pervert’s Guide to Cinema Robin Wood began his landmark studies, Hitchcock’s Films (1965), with the rhetorical question, “Why should we take Hitchcock seriously?” Yet it was also Wood himself who revised the question in 1983. He asks, “Can Hitchcock be saved for feminism?” While there is no denying the brilliance of Hitchcock’s subjective camera and his skillful manipulation of identification processes, one cannot help but loathe the pungent misogyny prevalent in his works. Vertigo (1958) is arguably no exception. Laura Mulvey, a vocal and influential feminist film critic, contends that Vertigo elucidates an active sadistic voyeurism of the male gaze that subjects the woman, as object-of-desire, to realize his impossible fantasy, time and again at the cost of brutish violence against her body and psychological wellness.[1] Also exploiting Freud’s theory, Tania Modleski deciphers female suffering in Vertigo as a punishment for her inherently close relationship with the mother with which the men envy.[2] In drawing on the phallocentric models of Freud and Lacan, these criticisms bear a blind spot in that they assume certain essentialist sexual development characteristics to formulate the backbone of their analysis, such as Mulvey’s reading of object-of-desire or Modleski’s draw on bisexuality...
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...cover next page > title author publisher isbn10 | asin print isbn13 ebook isbn13 language subject publication date lcc ddc subject : : : : : : : : : : : cover next page > < previous page page_i next page > Page i 1100 Words You Need to Know Fourth Edition Murray Bromberg Principal Emeritus Andrew Jackson High School, Queens, New York Melvin Gordon Reading Specialist New York City Schools . . . Invest fifteen minutes a day for forty-six weeks in order to master 920 new words and almost 200 useful idioms < previous page page_i next page > < previous page page_ii next page > Page ii © Copyright 2000 by Barron's Educational Series, Inc. Prior edition © Copyright 1993, 1987, 1971 by Barron's Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, NY 11788 http://www.barronseduc.com Library of Congress Catalog Card No. 00-030344 International Standard Book Number 0-7641-1365-8 Library of Congress Cataloging-in-Publication Data Bromberg, Murray. 1100 words you need to know / Murray Bromberg, Melvin Gordon. p. cm. Includes index. ISBN 0-7641-1365-8 1. Vocabulary. I. Title: Eleven hundred words you need...
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