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Crime, Gender, Sexuality, and Genre in Horror-Slasher Films I The Objectified Feminine in Films Student Edition PowerPoint Presentation
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Crime, Gender, Sexuality, and Genre in Horror-Slasher Films I The Objectified Feminine in Films Student Edition. Based on Work by George Santora, Mary Lou Vredenburg and Katie Fields. Created and Edited by Dr. Kay Picart @ 2002. Key Terms & Concepts. Scopophilia according to:

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slide1

Crime, Gender, Sexuality, and Genre in Horror-Slasher Films IThe Objectified Feminine in FilmsStudent Edition

Based on Work by

George Santora,

Mary Lou Vredenburg and

Katie Fields

Created and Edited by Dr. Kay Picart @ 2002

key terms concepts
Key Terms & Concepts
  • Scopophilia according to:
    • Freud: _______________________
    • Mulvey: _____________________

Continued on Next Slide

key terms concepts 2
Key Terms & Concepts (2)
  • Discuss the following:
  • Male gaze: ______________________
  • Female to-be-looked-at-ness:
  • _________________________________

Continued on Next Slide

key terms concepts 3
Key Terms & Concepts (3)
  • Characterize the following key terms in relation to each other:
  • fetishistic scopophilia,
  • fear of castration,
  • Symbolic Order,
  • Law of the Father

Continued on Next Slide

key terms concepts 4
Key Terms & Concepts (4)
  • Differentiate between the phallus and the penis.
  • The woman’s lack of a penis represents the fear of castration through three things:
  • _______________________________
  • _______________________________
  • _______________________________

Continued on Next Slide

slide6
Psychoanalytic CriticismThe Basics of a Psychoanalytic Approach in the Study of Literature and Film
  • Of what use/significance is Psychoanalytic Criticism in relation to Literature and Film?

Continued on Next Slide

the dynamic model
The Dynamic Model
  • __________________________________________________________________________________________
the economic model
The Economic Model
  • _____________________________________________________________________________________________
the topographical model
The Topographical Model
  • This model has three components. (Characterize each.)
          • __________
          • __________
          • __________

Continued on Next Slide

freudian developmental stages
Freudian Developmental Stages
  • What are these?
  • What do they signify?
  • What functions do they serve?
the pre oedipal
The Pre-Oedipal
  • In the Pre-Oedipal:
  • _____________________________________________________________________________________________
the oedipus and the castration complex
The Oedipus and the Castration Complex
  • The Oedipal Complex functions as ___________________________________________________________________________________________________

Continued on Next Slide

the oedipus and the castration complex 2
The Oedipus and the Castration Complex (2)
  • The Castration Complex forces the child to __________________________________________________________________________________________________________________

Continued on Next Slide

the oedipus and the castration complex 3
The Oedipus and the Castration Complex (3)
  • Two events must occur in order to bring the child out of the Pre-Oedipal stage and into the world of adult heterosexuality. These are:
  • __________________________________________________________________________________________
  • __________________________________________________________________________________________

Continued on Next Slide

the oedipus and the castration complex 4
The Oedipus and the Castration Complex (4)
  • The result of these two factors is that the male child __________________________________________________________________________________________________________________
the post oedipal and genital organization
The Post-Oedipal and Genital Organization
  • latency stage: ____________________
  • Last the child undergoes genital organi-zation, which:
  • ___________________________________________________________________________________________________
lacan
Lacan
  • Lacan’s major revision of Freud is: ________________________________
  • Lacan maps out three domains: (Characterize each).
      • ________________
      • ________________
      • ________________
slide19
The Mirror Stage occurs when . . .
  • __________________________________________________________________
  • It’s significance is:
  • __________________________________________________________________

Continued on Next Slide

gender separation assumption of of desire
Gender Separation Assumption of of Desire
  • In the Symbolic Order, _____________is the most important category.
  • Everyone must be named in language as ______ or _________.
  • The _________ is subordinated to the ____________.

Continued on Next Slide

gender separation 2 assumption of of desire
Gender Separation (2)Assumption of of Desire
  • Here Lacan, as Freud did before, claims that the role of the ______is that of a symbol of society’s rules.
  • He imposes these rules through the ______________.

Continued on Next Slide

gender separation 3 assumption of of desire
Gender Separation (3)Assumption of of Desire
  • To understand what it means “to be male” is only to ____________________
  • Males only know themselves through the_____________________________, which is the reason they are fragmented.

Continued on Next Slide

gender separation 4 assumption of of desire
Gender Separation (4)Assumption of of Desire
  • According to Lacan a __________________ doesnot exist
  • ________________ can not obtain a full relationship.
  • Male and female can/cannot (choose one) have complete knowledge of each other.

Continued on Next Slide

gender separation 5 assumption of of desire
Gender Separation (5)Assumption of of Desire
  • The ________ poses the symbol of the rule of language and culture over the individual.
  • __________ possess the _______, therefore at the same time, they can lay claim on the ______________.

Continued on Next Slide

mulvey 1
Mulvey (1)
  • Mulvey states that the purpose of her paper is to

___________________________________________________________________________________________________

Continued on Next Slide

mulvey 2
Mulvey (2)
  • To achieve her goal, Mulvey employs the following technique:
  • She utilizes the framework of_________, and __________ gender formation to illustrate the role of the woman in a ___________ culture.

Continued on Next Slide

mulvey 3
Mulvey(3)
  • The __________ “then stands in patriarchal culture as the signifier for the male other, bound by a symbolic order in which ________ and obsessions through linguistic command by imposing them on______________________________.”

Continued on Next Slide

mulvey 4
Mulvey (4)
  • According to Lacan it is the absence of the ______ that serves as a means for the male to gain his identity, her ______ serves as the bearer of the meaning of what it is to be ________.
the male gaze
The Male Gaze
  • Mulvey states that the pleasure of cinema is derived from “___________” (the love of looking).

Continued on Next Slide

the male gaze 2
The Male Gaze (2)
  • She divides this idea into two aspects. Characterize these.
      • _____________________
      • _____________________

Continued on Next Slide

the male gaze 3
The Male Gaze (3)
  • ________ Scopophilia
  • __________________________________________________________________________________________________________________.

Continued on Next Slide

the male gaze 4
The Male Gaze (4)
  • __________ Scopophilia
  • ___________________________________________________________________________________________________

Continued on Next Slide

the male gaze 5
The Male Gaze (5)
  • The reason the object of the scopophilia is always ________ stems from the fact that _____________________________.
  • This has to do with _______________ when a man is _____________.

Continued on Next Slide

women as threat 2
Women As Threat (2)
  • The very presence of a woman induces the _____________ that fostered the gender identification in the male, that makes her a permanent manifestation of the threat of castration.
  • Good Filmic Examples come from the Film Noir genre of the 1940’s and 1950’s.

Continued on Next Slide

escaping castration anxiety
Escaping Castration Anxiety
  • Mulvey lists two avenues of escapefrom castration anxiety represented by the presence of a woman. These are:
      • Voyeurism
      • Punishment through

Fetishistic Scopophilia

Continued on Next Slide

escaping castration anxiety 2
Escaping Castration Anxiety (2)
  • The first is voyeurism.
  • Characterize this, and give examples.

Continued on Next Slide

escaping castration anxiety 3
Escaping Castration Anxiety (3)
  • Voyeurism as applied to film means that . . . .

Continued on Next Slide

escaping castration anxiety 4
Escaping Castration Anxiety (4)
  • This _________________ is made possible by the idea of the fragmented Ego outlined by Lacan (occurring when the child identifies himself with the more perfect, more complete, more ideal ego perceived in the mirror).

Continued on Next Slide

escaping castration anxiety 5
Escaping Castration Anxiety (5)
  • The Ego projects itself onto the _________and vicariously shares in the power as he controls the events on screen.

Continued on Next Slide

escaping castration anxiety 6
Escaping Castration Anxiety (6)
  • The second avenue of escape from cas-tration anxiety is fetishistic scopophilia.
  • Fetishistic Scopophilia is:
  • __________________________________________________________________

Continued on Next Slide

escaping castration anxiety 7
Escaping Castration Anxiety (7)
  • This is pleasurable because it is a __________for the loss of _________ when the child is brought out of the Lacanian imaginary, into the world of the ____________.
the effects this has on film
The Effects This Has on Film
  • Mulvey states that the aspect of feti-shistic scopophilia forces a _______ in the flow of the narrative while we contemplate the object on the screen.

Continued on Next Slide

the effects this has on film 2
The Effects This Has on Film (2)
  • The sadistic quality of narcissistic scopophilia demands a ________, forcing a change in an other person, a battle of will and strength, victory and defeat, all in linear time with a beginning and an end.

Continued on Next Slide

the effects this has on film 3
The Effects This Has on Film (3)
  • This structureappeals to the male ego where he can ________ as the object of desire (male fantasy) and enforce his dominance through control and manipulation of the object, giving him a sense of omnipotence.

Continued on Next Slide

the effects this has on film 4
The Effects This Has on Film (4)
  • Lastly, this (male-oriented) mode of re-presentation leaves the female viewer with only two choices:
    • To identify with ________________.
    • To identify with ________________.
marnie
Marnie
  • Alfred Hitchcock, Marnie, 1964. Starring Tippie Hedren (Marnie Edgar) and Sean Connery (Mark Rutland).
  • Hitchcock’s narrative in Marnie utilizes both _________ and __________ scopophilia.

Continued on Next Slide

marnie 2
Marnie (2)
  • In the opening sequence the camera ________________________________.
  • This immediately __________________
  • ________________________________
  • (narrative effect?).

Continued on Next Slide

the objectified female
The Objectified Female

Opening Scene from Marnie

marnie 3
Marnie (3)
  • This is followed by Mr. Strutt’s descrip-tion of _________, and the fact that _______________________________.
  • This method of ____________ is used sparingly, in comparison to the voyeuristic method.

Continued on Next Slide

marnie 4
Marnie (4)
  • Instead Hitchcock relies on the _________ of narcissistic scopophilia to drive the narrative.
  • Mark Rutland (Sean Connery) says of his reasons for hiring this woman he knows is dangerous:

_______________________________

Continued on Next Slide

marnie 5
Marnie (5)
  • From this point on Mark Rutland con-trols the events of the narrative as he _______________________________________________________________.

Continued on Next Slide

marnie 6
Marnie (6)
  • The result is: _______ and ______________, will have control over the diegesis, and possession of the fetishistic desire.
  • This is why Mulvey says that the _______________________________.

Continued on Next Slide

marnie 7
Marnie (7)
  • Mark Rutland’s lost desires from the ________ phase (when he was a child, compare Lacan) are -- in a way -- recaptured through his ______ fantasy.

Continued on Next Slide

marnie 8
Marnie (8)
  • Additionally, the split in the Ego from the emergence into the realm of the symbolic is temporarily _______ as the viewer identifies with his ideal like in a world where he controls everything with omnipotence and possesses the object of his desire.

Continued on Next Slide

marnie 9
Marnie (9)
  • Rutland says to Marnie that he can’t let her go, because he needs to take care of her, and secondly he will be “______________.”
  • This is the “punishment” that Mulvey talks about!

Continued on Next Slide

marnie 10
Marnie (10)
  • This illustrates his desire to _______ her, and to enforce upon her _________ in the male centered realm of the symbolic.
  • He then tells her they are to be married and ____ will be in charge (see film still next slide).

Continued on Next Slide

the object of male desire
The Object of Male Desire

Tippie Hedren as Marnie Edgar

marnie 11
Marnie (11)
  • In the end it is Rutland who forces the emergence of the suppressed trauma of Marnie’s youth, by _________________.
  • Once there, he __________ the direction of the narrative between mother and daughter until the “truth, the whole truth, and nothing but the truth” emerges.

Continued on Next Slide

marnie 12
Marnie (12)
  • As ________ for his manipulations, Marnie gives herself to him _______in the final scenes of the movie.
  • “I don’t want to go to jail, I____________.” (Marnie Edgar, as she stands outside the door facing the car. After this, the camera zooms out in a crane shot to come full circle to the beginning shot of the harbor).

Continued on Next Slide

marnie 13
Marnie (13)
  • The ________ viewer is left with a sense of satisfaction from Mark’s reward.
  • Mark depicts the _______ projected self.

Continued on Next Slide

marnie 14
Marnie (14)
  • Through earning the possession of the object of his desire (through events he manipulated) the viewers are experien-cing ___________ over the ________ of the female.

Continued on Next Slide

marnie 15
Marnie (15)
  • The female viewer is left to either assu-me:
    • the role of ________, i.e.. the object of the male’s desire and control -- or --
    • that of ____________.
slide64

René Magritte:

Analyze Magritte’s painting using Freud, Lacan or Mulvey