Voyeurism In Carbine Jones

With her article on visual pleasure in Hollywood cinema, Laura Mulvey shares her idea that part of the appeal of films is that it satisfies voyeurism and scopophilia. Deriving pleasure from watching characters who are “unaware” that they are being watched produces a voyeuristic look that can be broken down into three different looks. The first one is of course the look of the camera as it records the characters. The second look is the audiences’ look as they watch the characters, and the third look is the characters’ look as they watch each other. In Hollywood, men are portrayed as active and bearers of the look, while women are passive and the objects of the gaze. When the protagonist is a male, the viewer identifies with this character and

According to Richard Dyer, a star is an image constructed out of the roles the star plays. What audiences see is not a real person, but rather social types such as the rebel and the independent woman. This star image is created through promotion, publicity, films, commentaries, and criticisms. Performance signs are basically the elements the star uses to shape the performance and in turn the film. These signs include facial expressions, voice, gestures, body movement, and body posture. In Carmen Jones, Dorothy Dandridge infuses her performance signs with boldness. Her looks are full of passion, and her actions are forward as seen in the moment where Carmen fixes Joe’s belt. On one hand, Carmen is servile because she dusts off Joe’s boots and puts on his belt for him. Simultaneously, Carmen is assertive about what she wants and how she approaches Joe. Carmen can be viewed as a femme fatale because she is a beautiful woman who uses her looks to get want she wants from men. Furthermore, some would say that Joe’s downfall comes because Carmen seduced him, and he was so in love with her that he killed her in a jealous rage when she left him for Husky Miller; however, it can also be said that Carmen Jones shows how women are victimized by the patriarchy. Another actress who played a femme fatale was Marilyn Monroe in Niagara. While Carmen is a beautiful woman who uses her charms to her advantage, Marilyn’s character Rose carries herself more sensually than Carmen. When Rose

Andrew Sarris is important to our present day thinking on film authorship because he referred to it as a “theory” rather than the “auteur policy,” the original French concept. With his article, “Notes on the Auteur Theory,” Sarris acknowledges the French type of analysis and brings it into the world of American film criticism. In turn, the standards of American film reviews and film criticism were raised. Sarris disagreed with the idea that good directors made only good films and bad directors made only bad films. Instead, Sarris believed that there are three premises of the auteur theory, which help determine the director’s talent, and he also ranked directors by their romantic approach to his theory. All three premises should be envisioned as three concentric circles that define the director as a technician, a stylist, and an auteur. The first premise and outer circle is the director’s technical competence. If the director did not have a good grasp of the nature of the medium, he or she was automatically left out of the “pantheon of directors.” The second premise and middle circle is the director’s distinguishing personality as a measure of value. In order to qualify as an auteur, the director must show a pattern in his or her style. The look and feel of every film should feel familiar and be tied to the way the director thinks and feels. Finally, the third premise and inner circle is the interior meaning, which comes out of the tension between the director’s