Crime, Gender, Sexuality, and Genre in Horror-Slasher Films I The Objectified Feminine in Films Student Edition

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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 _at_ 2002
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Key Terms Concepts

• Scopophilia according to
• Freud _______________________
• Mulvey _____________________

Continued on Next Slide
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Key Terms Concepts (2)

• Discuss the following
• Male gaze ______________________
• Female to-be-looked-at-ness
• _________________________________

Continued on Next Slide
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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
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Key Terms Concepts (4)

• Differentiate between the phallus and the penis.
  
• The womans lack of a penis represents the fear
  of castration through three things
• _______________________________
• _______________________________
• _______________________________

Continued on Next Slide
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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
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Freudian Models of the Psyche
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The Dynamic Model

• __________________________________________________
  ________________________________________

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The Economic Model

• __________________________________________________
  ___________________________________________

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The Topographical Model

• This model has three components. (Characterize
  each.)
• __________
• __________
• __________

Continued on Next Slide
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Freudian Developmental Stages

• What are these?
• What do they signify?
• What functions do they serve?

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The Pre-Oedipal

• In the Pre-Oedipal
• __________________________________________________
  ___________________________________________

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The Oedipus and the Castration Complex

• The Oedipal Complex functions as
  __________________________________________________
  _________________________________________________

Continued on Next Slide
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The Oedipus and the Castration Complex (2)

• The Castration Complex forces the child to
  __________________________________________________
  __________________________________________________
  ______________

Continued on Next Slide
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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
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The Oedipus and the Castration Complex (4)

• The result of these two factors is that the male
  child ____________________________________________
  __________________________________________________
  ____________________

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The Post-Oedipal and Genital Organization

• latency stage ____________________
• Last the child undergoes genital organi-zation,
  which
• __________________________________________________
  _________________________________________________

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Lacan

• Lacans major revision of Freud is
  ________________________________
• Lacan maps out three domains (Characterize
  each).
• ________________
• ________________
• ________________

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• The Mirror Stage occurs when . . .
• __________________________________________________
  ________________
• Its significance is
• __________________________________________________
  ________________

Continued on Next Slide
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• The Unified Ego is true or a myth, according to
  Lacan? Justify your answer carefully.

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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
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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
  societys rules.
• He imposes these rules through the
  ______________.

Continued on Next Slide
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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
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Gender Separation (4)Assumption of of Desire

• According to Lacan a __________________ does not
  exist
• ________________ can not obtain a full
  relationship.
• Male and female can/cannot (choose one) have
  complete knowledge of each other.

Continued on Next Slide
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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
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Mulvey (1)

• Mulvey states that the purpose of her paper is to
  
• ___________________________________________
  __________________________________________________
  ______

Continued on Next Slide
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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
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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
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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
  ________.

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The Male Gaze

• Mulvey states that the pleasure of cinema is
  derived from ___________ (the love of looking).
  

Continued on Next Slide
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The Male Gaze (2)

• She divides this idea into two aspects.
  Characterize these.
• _____________________
• _____________________

Continued on Next Slide
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The Male Gaze (3)

• ________ Scopophilia
• __________________________________________________
  __________________________________________________
  ______________.

Continued on Next Slide
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The Male Gaze (4)

• __________ Scopophilia
• __________________________________________________
  _________________________________________________

Continued on Next Slide
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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
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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 1940s and 1950s.

Continued on Next Slide
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Escaping Castration Anxiety

• Mulvey lists two avenues of escape from
  castration anxiety represented by the presence of
  a woman. These are
• Voyeurism
• Punishment through
• Fetishistic Scopophilia

Continued on Next Slide
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Escaping Castration Anxiety (2)

• The first is voyeurism.
• Characterize this, and give examples.

Continued on Next Slide
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Escaping Castration Anxiety (3)

• Voyeurism as applied to film means that . . . .

Continued on Next Slide
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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
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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
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Escaping Castration Anxiety (6)

• The second avenue of escape from cas-tration
  anxiety is fetishistic scopophilia.
• Fetishistic Scopophilia is
• __________________________________________________
  ________________

Continued on Next Slide
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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 ____________.

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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
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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
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The Effects This Has on Film (3)

• This structure appeals 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
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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 ________________.

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Marnie

• Alfred Hitchcock, Marnie, 1964. Starring Tippie
  Hedren (Marnie Edgar) and Sean Connery (Mark
  Rutland).
• Hitchcocks narrative in Marnie utilizes both
  _________ and __________ scopophilia.

Continued on Next Slide
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Marnie (2)

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

Continued on Next Slide
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The Objectified Female
Opening Scene from Marnie
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Marnie (3)

• This is followed by Mr. Strutts descrip-tion of
  _________, and the fact that _____________________
  __________.
• This method of ____________ is used sparingly, in
  comparison to the voyeuristic method.

Continued on Next Slide
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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
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Marnie (5)

• From this point on Mark Rutland con-trols the
  events of the narrative as he ____________________
  ___________________________________________.

Continued on Next Slide
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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
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Marnie (7)

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

Continued on Next Slide
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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
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Marnie (9)

• Rutland says to Marnie that he cant 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
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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
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The Object of Male Desire
Tippie Hedren as Marnie Edgar
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Marnie (11)

• In the end it is Rutland who forces the emergence
  of the suppressed trauma of Marnies 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
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Marnie (12)

• As ________ for his manipulations, Marnie gives
  herself to him _______ in the final scenes of the
  movie.
• I dont 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
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Marnie (13)

• The ________ viewer is left with a sense of
  satisfaction from Marks reward.
• Mark depicts the _______ projected self.

Continued on Next Slide
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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
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Marnie (15)

• The female viewer is left to either assu-me
• the role of ________, i.e.. the object of the
  males desire and control -- or --
• that of ____________.

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René Magritte Analyze Magrittes painting using
Freud, Lacan or Mulvey