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. In this 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. 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.
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