I think few people would disagree that Hitchcock was the expert of suspense, his films have generated a lot of critical acclaim over time. However, the women in his films rarely come across well, most of the time his female protagonist are scheming, deceitful and manipulative. Hitchcock’s filmic narrative is rampant with misogyny, his female leads are always punished or killed off, to show spectators that his women always end up getting “what they deserve.” In order to answer the question “Is Kim Novak’s portrayal of Madeline/ Judy in Alfred Hitchcock’s (1958) ‘Vertigo’ one of a Damsel in Distress or Manipulative Feme Fatale?”, I have researched and read a lot of books and papers to broaden my knowledge and address the question. ‘Vertigo’
Living up to this quote, Artemisia became one of the best painters in Italy during a time when women were not known or respected as painters. She took “control of her being” by not caring about what others thought and used her life experiences to make inspiring art and open doors for other women to become artists. She made it possible for women to be respected as painters and gave permission for women to be honored in the artworld. Artemisia was born in Italy and lived there from 1593 to her death in 1653. Artemisa grew up in a house of artists; her mother and father both loved to paint.
Alfred Hitchcock’s 1960 film Psycho redirected the entire horror genre, and in doing so dismantled the prudent 1950’s societal barriers of cinema. Although unseen for its potential by the large studios of the time, Psycho became one of the crowning achievements of film history. While based partially on a true story of murder and psychosis from Wisconsin, the widespread viewing of this tale made way for a new era of film and ushered in a new audience of movie goers. The use of violence, sexual explicitness, dramatic twists, sound, and cinematography throughout this film gave Hitchcock his reputable name and title as master of suspense. In 2018, reviews of films often are headlined with “the book was better.” But, in 1960 there was no such thing
By Ray having two female leads, it creates a forward-thinking Western but it is this innovation juxtaposed with an out of place Russian Roulette wheel, over the top Foley sound, and poorly executed rear projection that ultimately heightens the segments of camp, and in return diminishes the thoughtful sequences. The initial scene which the audience sees the two women characters for the first time is when Emma (Mercedes McCambridge) barges into Vienna’s (Joan Crawford) hotel, with her backup men, ready to take Vienna into custody, as Emma believes Vienna somehow aided in killing her brother. The sequence has a tense feeling, as a low camera angle points up to Vienna on the balcony, who is stating her innocence, while also pointing a gun down at the crowd below. Before the group enters, Vienna asks Eddie (Paul Fix) to keep the Russian Roulette wheel going. Eddie is wearing a striped button-down shirt, a tie, and a gun holster—which fits the aesthetic of the rest of the
She couldn 't even remember her lines. Director Billy Wilder pasted her lines any which way she could read and say. She was at her worst but still gave the best and became Hollywood icon. The film has Miss Monroe, Tony Curtis and Jack Lemmon. When this is the trio, It has to become one helluva cocktail which has a power to intoxicate you all through the film and still keep you alert.
15 Sick Sociopaths You Thought Were Hot Come on, admit it, we love the crazies. And since the 1970’s movies have introduced us to a slew of twisted, depraved killers and sociopaths that shock us but also deeply intrigue us. Sociopathy (sometimes also known as a psychopathy) is defined as a type of personality disorder. People with this disorder often display extreme antisocial attitudes (which many times result in criminal acts) and a lack of conscience. They are unable to feel guilt or have empathy for others.
There are a couple of heroines who undoubtedly defy the tired conventions, among them there are Alice from Resident Evil, Katniss Everdeen from The Hunger Games, The Divergent Tris Prior, and Wonder Woman. Taking a closer look at the given movie examples, men are ever-present and even outnumber women, however,
Cinema as a constructed representation of almost every societal issue and problems, has many examples of sexists’ behaviors, but also of non-sexist behaviors, and even feminist movements take place to this industry. As a micrograph also all the ideological political and historical scenes and changes are reflected to the “big scene”. One of the most well-known ladies in the television, comics, and film industry for almost 77 years, the amazon Wonder Woman can help us to understand the reflection of the changes, which are provided to this female super hero in relation to sexist and feminism content. To begin with, in order to understand the correlation between the feminism and wonder women it would be useful to start with what represents the feminist film theory. The feminist film theory grew out from the psychoanalytic film theory that their origins is from psychology.
Obviously, being exposed to such kind of movies over a period of time has its adverse affects on the audience. We begin to believe that a single punch dialogue will get us out of tricky situations, that a guy we just met will turn out to be our soul-mate, that stalking a girl and insulting her will actually prove fruitful, that all politicians are bad, that women cry for every single thing, that complete strangers will help us, that courage is the only thing required to face any number of opponents, and so on and so forth. Seriously! We are so absorbed by the same stereotypical, run-of-the-mill romance in the movies that the industry has been spitting out for decades that we don 't even realise the complete absurdity of it all. Do we honestly believe that suicide is the only escape?
Often Rupert uses gentle tone of mockery with women which is often signified by a soft voice, even murmuring is replaced by a harder, biting style when he puts someone on the spot. Because Rupert’s “faintly mocking, cynical air” vacillates between spoofing and embarrassing directness and with this he kept other characters on their toes and at a distance (Lawrence 59). Acerbic wit in 1940s Hollywood was often a sign of desexualised or sexually subversive character. If we analyse Hitchcock’s film the same characteristics can be seen in James Stewart in The Man Who Knew Too Much, Rear Window and Vertigo. While discussing Stewart’s performance in 1954 Rear Window, Naremore discounts/disregards “Hitchcock’s simplistic account of the Kuleshov effect or his glib descriptions of how the ‘best’ acting in movies is achieved” (240) This comment is applicable to Rope also: “As much a tour de force for the star as for the director,” each film “heighten[s] the cleverness of Stewart’s performance by