Glenda – Kineer’s House
The character of Glenda is first introduced in Kineer’s house at the
beckon of Kineer. She rises from a lackadaisical position on a couch to serve
Jack alcohol. When she does that wrong, Kineer admonishes her. This shows how
she is owned by Kineer and makes no attempt to stand up to him as that would
mean putting herself in a dangerous situation as she survives on the status
provided by working for Kineer – refuting the myth that female liberation occurred
in the 1960s. This reinforces the ‘visual pleasure and the narrative cinema’
theory by Laura Mulvey that society is a patriarchal and dominated by men.
After this, she uses her femininity to seduce Jack and is constantly
whispering in his ear and stroking him with her hands. She talks about relevant
information to Jack yet the male diegetic voices in the scene (talking about
their card game) are louder and often cut over Glenda’s voice. At the same time
as this, Glenda is always sharing the frame with male characters even though
the male characters often get the frame to themselves; this accents her
revealing clothing and seductive properties. Again, this confirms Laura Mulvey’s
theory that women in cinema are erotic objects for the characters and also for
the audience because we are positioned in a way that we cannot view her
otherwise.
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