The objectification of women has conjured mass debate within modern media and cinematic theory. Although it is very relevant within contemporary news, theorists have been exploring the portrayal of women in film since the 1970’s. Feminist film theorist – Laura Mulvery, in her 1975 analysis of the male gaze, discusses how women are nothing more than objects or possessions for men, whilst she argues that viewers watch the film from a male perspective. Gender theory has been explored extensively and can be exampled as far back to classic Hollywood cinema. It has been investigated within the work of Alfred Hitchcock, personally believing it to be most notable in his 50’s thriller Vertigo.
A story shrouding obsession, manipulation and murder; detective Scottie Ferguson (James Stewart) is forced to retire after his fear of heights causes danger to his colleagues as well as the death of a girl he was hired to follow. After finding a woman who looks remarkably similar to Madeleine (Kim Novak), he manipulates and moulds her into the image of the woman he fell in love with; consequently leading to unhealthy obsessions and madness. One of the best scenes to analyse when considering gender theory is Judy’s transformation into Madeleine.
Mulvey discusses that women are simply the bearer of visual pleasure, and theorised the spectator as male. Women are looked at and displayed, connoting “to-be-looked-at-ness”. “In herself the woman has not the slightest importance” – she exists only to provoke the hero. This is illustrated in Vertigo, when Scottie finds Judy, who looks very similar to Madeleine; just from her image she provokes his obsession into turning her into another woman. Critic, Sharon Smith discusses absence and stereotypes. She states that women are present and yet absent in film, due to characterization and depth. In the film, Novak does not speak until around the 45 minute mark. Vertigo centres from Scottie’s perspectives even including his personal nightmares.
In the transformation scene, Stewart’s character forces Judy to become Madeleine. Within the scene there is a clear theme of the colour green. Perhaps this alludes to the rebirth of his previous lover, or fertility. However; green also holds much darker connotations such as greed and jealousy. When she emerges dressed exactly how Scottie wishes, she is surrounded by smoke. This conjures to mind a ghostly figure which leads towards the connotation of Necrophilia and a fetishist gaze. In this scene she is simply a model or prototype of Madeleine – linking to the representation of women and how their only purpose is to fulfil a man’s desires and to be their objects.
The male gaze exists throughout the whole film as Scottie is literally hired to watch and follow her, inevitably becoming infatuated based on her looks alone. However, it can also be suggested that the male gaze isn’t just situated by the character but by the director. Alfred Hitchcock is well known among critics for his common use of blonde beauties. It is as if the main female character must fit a certain model of appearance. Critic Susan Jhirad, states “the most casual glance at Hitchcock’s films, especially the later ones, suggests a man preoccupied with women, especially coolly beautiful blondes like Madeline Carroll, Grace Kelly and Kim Novak… the unreal, obsessive quality of Hitchcock’s blonde heroines does not show women as they are, but women as Hitchcock wished them to be” (Jhirad, 1984, pg. 31).
Reflection theory is the assumption that film is a reflection of reality and society’s treatment of women and it argues for more complexity in female representation; therefore as well, looking beyond the assumption that the screen-viewer relationship is based upon heterosexual desire and the male spectator.
Doane likens feminity to masquerade, as if putting on a mask. This can often be aligned with femme fetale and the theory that excess femininity is evil. “It is this evil which scandalizes whenever women plays out her sex in order to evade the world and the law” (Montrelay, 1978, Pg. 93) and this is what Judy does in order to escape the truth of her evil plan with Madeleine’s husband – she uses her beauty with Scottie to escape the evil truth of her actions.
Overall it is clear that the male gaze is constructed in Vertigo, most specifically in this scene. It is also clearly gendered in a male perspective as we gain little depth in any other female characters, only their actions. However; that is only until the truth of the plot is unveiled and then arguably it lingers with a femme fatal approach. Consequently showing how Madeleine poses a threat with her beauty as she charms the male whilst with-holding mysterious qualities by leading them into deadly situations. Gender theory has enhanced my understanding of the film because it has crafted more underlying layers of depth than what appears on the surface from the first watch.
References:
Doane, M. (2000; 1982) “Film and the Masquerade: Theorizing the Female Spectator”, in Stam and Miller (eds.), Film and Theory. Oxford: Blackwell, pp.495-509.
Jhirad, S 1984, “Hitchcock’s Women”, Cineaste, vol.13, no.4, pp.31.
Montelray, M. (1978) “Inquiry into Femininity.” m/f 1, pp.83-101.
Mulvey, L. (2000; 1975) “Visual Pleasure and Narrative Cinema”, in Stam and Miller (eds.), Film and Theory. Oxford: Blackwell, pp.483-494.
Smith, S. (1972) “The Image of Woman in Film: Some Suggestions for Future Research.” Women and Film 1, pp.13-21.
