Self-healing from the perspective of male chauvinism

Hitchcock’s classic works, of course, every Hitchcock film is a classic...It can be said that the master was deeply influenced by Freud, and he also has this kind of consciousness that the movie can be regarded as the male protagonist. The process from illness to recovery. Of course, this was a thriller at the time. You must know that it was determined by the people’s media literacy at the time. Of course, it is still suspenseful today. Hitchcock played very dazzlingly. Let the heroine reveal the truth, so the audience is more curious about how to develop next... Of course, as Hitchcock with a strong sense of masculinity, the heroine participated in the case. If she is not punished by law, she must judge herself. This is also to maintain mainstream values. So, in the end, the inexplicable heroine fell and repeated the homicide process. Of course, this was also out of thriller needs, and this was far-fetched, just to let the hero heal himself, and the camera finally Not for the dead woman, because she has already painted and disappeared in the text without taking away a cloud. In contrast, the real culprit has never appeared again, with impunity? Perhaps it is no longer necessary to explain, because the actor will go to report? In Hitchcock’s view, it’s not important anymore. What’s important is that the actor cures his fear of heights and frightens the audience... Hitchcock has a deep knowledge of psychology. The actor witnessed the fall of a colleague for the first time. He was powerless, so he fell ill. The second time, he didn’t see it, but he was still powerless, so for the third time, he wanted to try to save everything by himself. He defeated the fear of heights and witnessed the heroine fall. This is against sin. The verdict was the opposite of the process of the first colleague. One is not catching up with the rescue, the other is catching up, one is the falling goodness, and the other is the falling evil, but it seems that the love between the heroine and the heroine has disappeared. , Because Hitchcock doesn’t seem to believe in love... the whole movie presents male watching, especially the protagonist’s tracking, which is entirely from his perspective. Obviously, this kind of voyeurism overflows infinitely. So she quickly became sexual desire. Whether the heroine cooperates with murder or cannot give up love to the hero, she is a tool, a tool for murder in the film and the object of the hero’s gaze. It can be said that in Hitchcock’s concept A woman is the object to be seen, a tool of desire, for men to vent their sexual desires, so acrophobia seems to be involved in the threat of castration, but the male protagonist finally solved the case, defeated the evil, and defeated the fear of heights. Aroused the subjectivity of the self... Cocker believes that the image of the male protagonist, a form wanderer, especially his identity, in and out of play, retired policemen, and retired soldiers, belonged to soldiers returning home after World War II. Representation represents the hesitation of American men on this matter. This understanding seems a bit far-fetched, after all

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