Alfred Hitchcock Gender Roles In Society

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Introduction Part 1: “Consciously or not, Alfred Hitchcock never followed tendencies of mainstream cinema. By depicting his heroines as strong and expressive, giving them freedom of will and using a subjective narrative mode, he broke with the classical image of woman as a spectacle.” (Malgorzata Bodecka)
Films have always been influenced by the social-cultural background from the time the film was produced. Dating back to the beginning of film around the 1890s through the films produced today, if taken into account the time period, one can argue that a big change in the social-cultural background of the world, especially in western society, has been the change of the role of women in society. This essay seeks to evaluate how the role of women in film changed accordingly to the evolution of the female role in society during the last century. As an example, I have chosen three films produced by the the English film director Alfred Hitchcock as he is a prominent example of someone who adapted his movies to this cultural change. My research question, “To what extent can Hitchcock’s Icy Blondes be characterized as Femme Fatales in the films Rear Window (1954), North to Northwest (1959) and Vertigo (1958)?” directly relates to the issue of gender role evolution as the descriptive term “Femme Fatale” relates to women who
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Renowned examples are Aphrodite (ancient mythical), Cleopatra (Classical times) and Salome (Biblical figure). Merriam-Webster defines females classified by the term as “seductive [women] who [lure] men into dangerous or compromising situations”. A more elaborate description by Mary McMahon illustrates that “A classic femme fatale hides her true nature with seductive attitudes, ensnaring her prey so thoroughly that by the time he realizes what has happened, it is too late. A vixen with sinister

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