To See You Is To Love You Zur Rolle Des Voyeurismus In Alfred Hitchcocks Rear Window
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To See You Is To Love You Zur Rolle Des Voyeurismus In Alfred Hitchcocks Rear Window
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Author : Eric A. Leuer
language : de
Publisher: GRIN Verlag
Release Date : 2009-01-13
To See You Is To Love You Zur Rolle Des Voyeurismus In Alfred Hitchcocks Rear Window written by Eric A. Leuer and has been published by GRIN Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2009-01-13 with Performing Arts categories.
Studienarbeit aus dem Jahr 2006 im Fachbereich Filmwissenschaft, Note: 2,0, Universität Wien (Institut für Zeitgeschichte), Veranstaltung: Kurs Einführung in die feministische Filmtheorie, Sprache: Deutsch, Abstract: Alfred Hitchcocks „Rear Window“ aus dem Jahr 1954 ist sicherlich einer seiner bekanntesten Filme. Er basiert auf einer Kurzgeschichte von Cornell Woolrich und gilt als einer der typischsten Hitchcocks, er selbst bezeichnete ihn als „die Möglichkeit, einen vollkommen filmischen Film zu machen“ . Dennoch war „Rear Window“ gemeinsam mit vier weiteren Werken der Öffentlichkeit lange Zeit nicht zugänglich. Hitchcock selbst hatte die Rechte an den Filmen zurückgekauft und sie als Erbe an seine Tochter vermachen wollen. Erst 1984 wurden die fünf „verlorenen“ Hitchcocks wieder aufgeführt, was ihnen einen außerordentlichen Schub an Popularität verlieh. Unabhängig davon ist „Rear Window“ ein bemerkenswerter Film. Vordergründig ein Thriller, beschäftigt er sich mit Voyeurismus, männlichen Sichtweisen, Entwicklung von Weiblichkeit, Wahrnehmung von eigener Identität, ist aber auch rein technisch ein grandioses Meisterwerk, das vielleicht sogar der beste Hitchcock sein mag. Laura Maulvey stellte in den 70er Jahren die Theorie auf, daß Hollywood-Kino in erster Linie von Männern für Männern gemacht ist und cineastische Darstellung auf Gewaltdarstellungen reduziert, die meist gegen Frauen gerichtet sind; die Frau somit als bloßes Objekt männlichen Sadismus und Voyeurismus, als dingliches „Eigentum“ des Mannes dargestellt und somit passiv als Zuseherin in eben eine solche, minderwertige Rolle gedrängt wird . Hitchcocks filmisches Konzept, psychologische Interpretationen mit der Hilfe von „Thrill“ und „Suspense“ zu verkaufen, widerspricht dabei Mulveys Theorie, im Falle von Rear Window sogar in vollkommener Hinsicht, denn hier ist es eine Frau die (zuletzt sogar buchstäblich) die „Hosen an hat“ und nicht nur einen Mörder sondern auch einen heiratsunwilligen Junggesellen „überlistet“ . „Rear Window“ ist also ein Film, der sich auf den ersten Blick mit männlichen Sichtweisen beschäftigen mag, tatsächlich aber von weiblicher Durchsetzungskraft in einer männlich dominierten Welt handelt.
To See You Is To Love You Zur Rolle Des Voyeurismus In Alfred Hitchcocks Rear Window
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Author : Eric A. Leuer
language : de
Publisher: GRIN Verlag
Release Date : 2009
To See You Is To Love You Zur Rolle Des Voyeurismus In Alfred Hitchcocks Rear Window written by Eric A. Leuer and has been published by GRIN Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2009 with categories.
Studienarbeit aus dem Jahr 2006 im Fachbereich Filmwissenschaft, Note: 2,0, Universität Wien (Institut für Zeitgeschichte), Veranstaltung: Kurs Einführung in die feministische Filmtheorie, 16 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Alfred Hitchcocks "Rear Window" aus dem Jahr 1954 ist sicherlich einer seiner bekanntesten Filme. Er basiert auf einer Kurzgeschichte von Cornell Woolrich und gilt als einer der typischsten Hitchcocks, er selbst bezeichnete ihn als "die Möglichkeit, einen vollkommen filmischen Film zu machen" . Dennoch war "Rear Window" gemeinsam mit vier weiteren Werken der Öffentlichkeit lange Zeit nicht zugänglich. Hitchcock selbst hatte die Rechte an den Filmen zurückgekauft und sie als Erbe an seine Tochter vermachen wollen. Erst 1984 wurden die fünf "verlorenen" Hitchcocks wieder aufgeführt, was ihnen einen außerordentlichen Schub an Popularität verlieh. Unabhängig davon ist "Rear Window" ein bemerkenswerter Film. Vordergründig ein Thriller, beschäftigt er sich mit Voyeurismus, männlichen Sichtweisen, Entwicklung von Weiblichkeit, Wahrnehmung von eigener Identität, ist aber auch rein technisch ein grandioses Meisterwerk, das vielleicht sogar der beste Hitchcock sein mag. Laura Maulvey stellte in den 70er Jahren die Theorie auf, daß Hollywood-Kino in erster Linie von Männern für Männern gemacht ist und cineastische Darstellung auf Gewaltdarstellungen reduziert, die meist gegen Frauen gerichtet sind; die Frau somit als bloßes Objekt männlichen Sadismus und Voyeurismus, als dingliches "Eigentum" des Mannes dargestellt und somit passiv als Zuseherin in eben eine solche, minderwertige Rolle gedrängt wird . Hitchcocks filmisches Konzept, psychologische Interpretationen mit der Hilfe von "Thrill" und "Suspense" zu verkaufen, widerspricht dabei Mulveys Theorie, im Falle von Rear Window sogar in vollkommener Hinsicht, denn hier ist es eine Frau die (zuletzt sogar buchstäblich) die "Hosen an hat" und nicht nur einen Mörder
Hitchcock S Hide And Seek In Rear Window
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Author : Dasa Kollarova
language : en
Publisher:
Release Date : 2013-07
Hitchcock S Hide And Seek In Rear Window written by Dasa Kollarova and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2013-07 with categories.
Essay from the year 2011 in the subject Film Science, grade: B+, - (Anglo-American University, Prague), language: English, abstract: The Interpretation of the famous Alfred's Hitchcock's movie Rear Window based on Robin Wood's and John Belton's analysis.
Playing With The Gaze In Hitchcock The Experience Of Visual Pleasure In Rear Window Vertigo And Psycho
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Author : Anett Koch
language : en
Publisher: GRIN Verlag
Release Date : 2014-06-18
Playing With The Gaze In Hitchcock The Experience Of Visual Pleasure In Rear Window Vertigo And Psycho written by Anett Koch and has been published by GRIN Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2014-06-18 with Performing Arts categories.
Bachelor Thesis from the year 2011 in the subject Communications - Movies and Television, grade: 1,0, University of Heidelberg, language: English, abstract: Woman [...] stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer, not maker, of meaning (Mulvey, “Visual Pleasure” 15). Ever since Laura Mulvey published her essay “Visual Pleasure and Narrative Cinema” in 1975, feminist film theorists have challenged her assertion that films are directed at an exclusively male spectatorship. Despite the fact that Mulvey herself has revised some of her ideas in “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by King Vidor’s Duel in the Sun (1946)” (1981), theorists are still struggling to understand if and how visual pleasure manifests itself for female viewers. In classical Hollywood cinema, this visual pleasure is the result of successful audience manipulation. Cinema is often regarded as a ‘narrative machine’ because “the narrative is delivered so effortlessly and efficiently to the audience that it appears to have no source” (Belton, American Cinema 22). As a rule, the film’s artifice is hidden so well that it remains unnoticed by the audience, conveying the impression that the narrative is “spontaneously creating itself in the presence of the spectators [...] for their immediate consumption and pleasure” (ibid.). Thus, cinema’s visual manipulation techniques enable viewers to experience visual pleasure as they enter the world on screen and become involved in the lives of their screen surrogates. Among the many talented directors in the history of film making, Alfred Hitchcock is known for being one of cinema’s most productive auteurs and a pioneer in the field of visual manipulation. Through his way of directing the camera – and with the camera also the gaze of the spectator – his audience not only appreciates the narrative itself but also, and especially, Hitchcock’s technique of storytelling. By means of simultaneously zooming in and tracking out, combined with point-of-view shots and extreme close-ups, the audience assumes the protagonist’s perspective along with a sense of vertigo, guilt and pleasure. Thus, as a director, Hitchcock is like a criminal who makes the audience his accomplice in a crime that is about to unfold in front of their eyes. [...]
The Camera Tells The Story Alfred Hitchcock S Rear Window
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Author : Sandra Miller
language : en
Publisher: GRIN Verlag
Release Date : 2015-03-09
The Camera Tells The Story Alfred Hitchcock S Rear Window written by Sandra Miller and has been published by GRIN Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2015-03-09 with Performing Arts categories.
Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.
The Unmaking Of Fascist Aesthetics
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Author : Kriss Ravetto
language : en
Publisher: U of Minnesota Press
Release Date : 2001
The Unmaking Of Fascist Aesthetics written by Kriss Ravetto and has been published by U of Minnesota Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2001 with Performing Arts categories.
In works by filmmakers from Bertolucci to Spielberg, debauched images of nazi and fascist eroticism, symbols of violence and immorality, often bear an uncanny resemblance to the images and symbols once used by the fascists themselves to demarcate racial, sexual, and political others. This book exposes the "madness" inherent in such a course, which attests to the impossibility of disengaging visual and rhetorical constructions from political, ideological, and moral codes. Kriss Ravetto argues that contemporary discourses using such devices actually continue unacknowledged rhetorical, moral, and visual analogies of the past. Against postwar fictional and historical accounts of World War II in which generic images of evil characterize the nazi and the fascist, Ravetto sets the more complex approach of such filmmakers as Pier Paolo Pasolini, Liliana Cavani, and Lina Wertmuller. Her book asks us to think deeply about what it means to say that we have conquered fascism, when the aesthetics of fascism still describe and determine how we look at political figures and global events. Book jacket.
Narrative Mechanics
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Author : Beat Suter
language : en
Publisher: transcript Verlag
Release Date : 2021-05-31
Narrative Mechanics written by Beat Suter and has been published by transcript Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2021-05-31 with Social Science categories.
What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.
Play It Again Sam
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Author : Andrew Horton
language : en
Publisher: Univ of California Press
Release Date : 2024-03-29
Play It Again Sam written by Andrew Horton and has been published by Univ of California Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2024-03-29 with Performing Arts categories.
This title was originally published in 1998. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.
Cinema Trance And Cybernetics
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Author : Ute Holl
language : en
Publisher:
Release Date : 2017-03-15
Cinema Trance And Cybernetics written by Ute Holl and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2017-03-15 with Performing Arts categories.
We ve all had the experience of watching a film and feeling like we ve been in a trance. This book takes that experience seriously, explaining cinema as a cultural technique of trance, one that unconsciously transforms our perceptions. Ute Holl moves from anthropological and experimental cinema through nineteenth-century psychological laboratories, which she shows developed technique of testing, measuring, and classifying the mind that can be seen as a prehistory of cinema, one that allows us to see the links among cinema, anthropology, psychology, and cybernetics."
Surrealism And Architecture
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Author : Thomas Mical
language : en
Publisher: Psychology Press
Release Date : 2005
Surrealism And Architecture written by Thomas Mical and has been published by Psychology Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2005 with Architecture categories.
Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.