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CRITICAL PERSPECTIVES
The Representation of
Masculinity
Representation of Masculinity
Scottie as Everyman
Scotties consciousness is central to the film
Scottie is the subject who we identify with
and experience the film through
Our relationship with him changes as the narrative
changes and we know more than him
His reconstruction of Judy in the image of Madeline
is considered a ruthless analysis of male desire
Exposes the role of the male gaze
Calls reconstruction of women into question:
Scottie reconstructs Judy into Madeline in the same way
as Elster did before him and Hitchcock has of Novak
Scotties Masculinity in
Crisis
Both Wood & Modleski theorise that Hitchcock
uses Scottie to explore ideas about masculinity
within wider society
Vertigo associated with Femininity
After Madelines death he becomes mad like
Carlotta
Scottie is manipulated by Elster a victim of a man
Use of mirrors and repetition of shots placement
of Scottie in shot with Madeline / Judy :
Suggests Scottie wants to control Madeline / Judy but is
mirroring a relationship - who controls him?
Questions who is the looker and who is to be looked at
Scotties Masculinity in
Crisis
Plays with Lacans theories
If woman does not exist, neither do men
Woman is a social construct, man must know
and possess her for if she doesnt exist, then
neither does he
Scotties Masculinity in
Crisis
Other aspects in the film that a (post)Feminist Critique reveals as
Hitchcock playing with masculinity
Idea of romantic love
considered feminine but experience through Scottie
Obsession
considered irrational and therefore feminine
Dreaming / following
compared to the dialogue about Carlotta roaming San Francisco looking for
her lost child
Impaired vision
faulty POV shots of Scottie looking for Madeline after her death ties
Scottie to motif of Hitchcock women throughout his films (Marnie,
Notorious, Psycho)