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

Niamh Gallagher

Film Studies Homework

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

Laura Mulvey argues that throughout any film the spectator is constantly switching between the role of the spectator and the role of the gazer. Her work concludes that most media (inc. Films) is constructed through the eyes of a man. As a result all media products present women as objects to be desired - we are encouraged to take 'Visual Pleasure' from the representation of women.  This is extremely relevant in Vertigo, shown between the characters Scottie and Madeleine. Even from the start of the film, a man’s dominant position over women is shown.Vertigo's opening sequence begins with an extreme close up of Madeleine's face, concentrating on her lips and cheeks. Madeleine is introduced as an object, she is shown as a series of body parts, not a full person. She is denied an identity, which is a key theme of Vertigo. The spectator is forced to gaze at Madeleine and her face, preparing them to view her as an object. This perpetuates the theme of women being objects to gaze at. James Stewart's name is shown first, showing male superiority and dominance, yet another theme of Vertigo. The camera pans across Madeleine's mouth and her lips twitch nervously. Madeleine's switching gaze tells us she is uncomfortable with this scrutiny and invasion of her personal space and identity. This opening is symbolic as it introduces the spectator to the Male Gaze-infused themes of Vertigo.

Mulvey’s Male Gaze can be applied to every scene with Madeleine, especially her introductory scene. The scene begins with Scottie being shot in a medium close up. This then tracks right, copying Scottie's gaze to Madeleine as he scans across the room to her. Both Scottie and the spectator are being drawn to Madeleine, establishing a visual link between them. As the camera is drawn to Madeleine the music changes to soft, violin music which is very romantic. Everyone else in the room is drab and grey, making blonde Madeleine stand out. She is wearing a green a dress, connoting both her ethereal and haunting nature and the envy and jealously Scottie feels towards Gavin. Her back is also exposed to the spectator, allowing them to view her as a sexual object. Scottie cannot take his gaze away from Madeleine, and neither can the spectator as Hitchcock denies them any other POV, especially one from Madeleine. As Madeleine and Gavin leave, Scottie straightens his back, showing that he is overwhelmed and intrigued by her. Also this could be an attempt by Scottie to appear more masculine in front of her. Madeleine is framed in the doorway like a painting, showing her as both perfect and unobtainable. She is idealised by Scottie in the profile shot of her, the red walls behind her literally glowing more vibrant as she passes by. This also foreshadows the lust and danger Madeleine brings with her.

This is a stark comparison with the scene introducing Midge. According to Mulvey’s theory, if a woman is not shot to be ‘gazed’ at, she is shown in a masculine way. In Midge’s introduction scene, the camerawork is not stylised and does not 'gaze' at Midge in the same way Madeleine is shot. Midge is shot in lots of high-angled shots looking down, connoting that Scottie sees her as a lower status and not good enough for him. She is not a viable romantic candidate for him. In the close up shots of Midge, the spectator is forced to see her as unappealing as she is scowling. Also, her face is obscured by her glasses, showing that she is boring, bland and studious.

Another example of how Vertigo shows the Male Gaze is how the female characters, especially Madeleine and Judy, halt the narrative. The narrative is driving towards Scottie curing himself of his acrophobia and the only way for him to do that is the reach the top of the belltower. Judy never progresses the narrative at her own free will, further showing how passive she is. She continually slows Scottie’s progression and he cannot cure himself unless he dominates and controls her. This reinforces patriarchy and the Male Gaze. Once Judy has been transformed into Madeleine and emerges from the bathroom, the spectator is rewarded by getting to gaze at her.

In conclusion, Vertigo has enhanced my understanding of Laura Mulvey’s Male Gaze. The male characters, like Gavin and to an extent Scottie, take an active role in the film. They make things happen and develop the narrative and bring it closer to the resolution. The world of Vertigo is presented through their eyes and we as the spectator adopt their POV. In contrast, the female characters take a passive role in the film. They have things done to theme and are seen as sexual objects and slow down the narrative down. The spectator stops to gaze at them, just as the male characters.