From the famous visual pleasure and narrative cinema article.
Scottie's voyeurism is obvious: he's in love with the girl he's stalking but never talks to. The sadistic side is also evident: he was a successful lawyer before, and he chose to be a police officer, a career with more tracking and investigation.
He reconstructs judy, turns her into madeleine, and forces her to obey every detail to satisfy his fetish. Her expressive and masochistic tendencies make her an ideal counterpart to scottie's sadistic voyeurism (judy is passive, scottie is active, corresponding to Laura's active/looking, passive/looked-at embodiment of sexual difference) .
The subtlety of vertigo is that the erotic gaze is misleading to the audience. People's attention is not on the voyeur, but on the voyeur, and in the end it is discovered that the voyeur is the voyeur being manipulated by the voyeur. The male protagonist conforms to the superego of the patriarchal social system, so the audience is lured into a false sense of familiarity and security, peeping from his point of view, wandering in the moral ambiguity of peeping.
This week is about 60-70 hollywood cinema. The studio system collapsed, ushering in new hollywood, male gaze, and Alfred Hitchcock. In the psycho of the movie, the vertigo and rear window appeared in the reading again. After looking for it, I will make up the reading.
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