How has your study of Laura Mulvey enhanced your understanding of Vertigo?

Mulvey states that the role of female characters in a narrative has two functions:

1.       As an erotic object for characters within the story

2.       As an erotic object for the spectators within the auditorium

This is definitely true in Vertigo and is prominent with the character of Madeleine (Kim Novak) even in the opening sequence. The sequence begins with an ECU of Madeleine's face (lips and cheek). Her lips twitch nervously introducing anxiety and a close examination of the character’s physical appearance as integral themes. She is shown as a series of body parts, not a full person. Madeleine is introduced as an object. The camera pans right to focus on her mute lips, showing she is without a voice. James Stuart’s name then appears, showing male superiority and dominance. During this scene the spectator is encouraged to ‘gaze’ at Madeleine’s face and is prepared to view her as an object.  Throughout this sequence the character of Madeleine has been fetishized and shown as a series of separate body parts, not as a complete person and is denied an identity, this is a key theme of the film and is touched upon later on.

Madeleine is shown through the male gaze in her introductory scene as Elster’s wife at Ernie’s restaurant. The scene begins with Scottie in a MCU before panning right, copying Scottie’s ‘gaze’ as he scans the room. Both Scottie and the spectator is being drawn towards Madeleine, visually linking them. We do not look away because Scottie literally can’t take his eyes off Madeleine. The camera is drawn to Madeleine as the violin music begins, bringing a romantic feel and atmosphere. Madeleine’s appearance singles her out from the other patrons of the restaurant as she has white-blonde hair and a beautiful emerald green dress. This compared with the brunette clientele in their drab outfits is so stunning that it draws the eyes of both Scottie and the spectator. The green of her dress reflects themes of the film including the idea of the supernatural, jealousy and envy. Madeleine’s back is exposed to us so we can view her as an erotic object without her knowing. The camera cuts back to Scottie who straightens his back showing how he is overwhelmed, intrigued while also showing his male side peeking through, showing dominance by making himself seem taller and broader. As she stands up, we see Madeleine in profile (CU) and the red walls behind her light up with a red light foreshadowing the danger and lust that she becomes later on. This shot also shows how she is completely unique and our attention is drawn to her.  As she leaves the restaurant, she walks past a full length mirror showing two sides of her. This is a key theme in the film as we learn that Madeleine is simply a performance by Judie.

There is a vast difference between how Madeleine is shot and how Midge is shown in the film. Unlike Madeleine we do not get any lingering shots of Midge, they are all quick. Therefore we do not ‘gaze’ at her, we merely look. There are also no POV shots of her only two close ups which are slightly high-angle. Her face is obscured by her glasses showing how she is bland, boring and studious. These close ups also show her in an un-appealing light, showing her with a slight scowl on her face at the mention of her engagement to Scottie. Midge is also shown working whilst Scottie complains about his corset, maintaining the masculine role in the scene. Her outfit is also un-appealing as she wears yellows and earthy brown colours which seem drab compared to the elegant emerald dress worn by Madeleine in her introduction scene. Midge takes the role of the ‘mother’ since it is she who looks after Scottie by trying to cure him of his acrophobia and telling him about bras, making her seem no longer a valid match for Scottie and making her seem unwanted.

Judie, like Madeleine, is also an object of the male gaze. This is shown in how she doesn’t progress the narrative of their own volition.  This is shown in the scene where Scottie is buying her a grey suit. This scene adds nothing to the overall narrative or its conclusion (Scottie overcoming his vertigo) and the only reward which we get from it is that we are allowed a moment to ‘gaze’ and Judie in her Madeleine ensemble once the makeover is complete. This cements the idea of ‘to-be-looked-at-ness’ which means that women are only there to be seen, as us ‘gazing’ at her is supposed to be a form of reward.

In conclusion, I believe that the male gaze theory has enhanced my understanding of vertigo as it has helped me to understand and come to grips with the key themes easier and to see the importance of each character’s role within the film.