How for has your wider Film Studies learning contributed to a better understanding and appreciation of your chosen film?

My wider studies of critical debates and further analysis of Vertigo has helped me in developing a deeper understanding as upon first watch I did not understand why it is often named the 'greatest film' ever made but after studying it in more depth I can understand why it is held in such high regard as a piece of art and as a study of human psychology.

One of the main themes of Vertigo is voyeurism and gazing which is instantly introduced in the opening sequence. The first section of the opening focuses on Madeline and introducing her character as an object to be gazed at. The segmented extreme close ups of her features inform the spectator that her appearance is the most important thing about her as we do not view her as a whole but as a collection of visuals, first her lips twitch nervously conveying anxiety and nervousness of being under such close scrutiny, The next shot is an extreme close up of her eyes, also shifting nervously from side to side as if she is uncomfortable with being watched, reinforcing the theme of gazing.

Studying Laura Mulvey's views on cinema and her 'Visual Pleasure and Narrative Cinema' in relation to Vertigo I gained a better understanding of the roles and significance of the female characters and reinforced the theme of gazing already explored in the title sequence. Laura Mulvey states that "women essentially hold two roles within a film: as an erotic object for the characters in the film, and as an erotic object for the spectator in the auditorium". The character of Madeline fulfills both of these roles and represents to Scottie, the spectator and by extension Hitchcock, the perfect ideal of a woman as she connotes 'to be looked at ness'. This is best demonstrated in the first scene Scottie sees Madeline in Ernie's as the micro elements in the scene perfectly convey Scottie's instant obsession and lust for Madeline and encourages the spectator to feel the same.

In this scene we are presented with Scottie's voyeuristic point of view as the camera pans across the room as he surveys it and when he sees Madeline the camera tracks towards her, the shot has no cuts and does not move away from Madeline, showing that Scottie is unable to take his eyes off her. As the camera gets closer to her the non diagetic music starts to swell as the diagetic the noise of the restaurant is slowly drowned out, the music alters the spectators perception of her as it encourages us to see her as ideal, perfect and all consuming and it swells and lifts as she comes in sight.

This scene also introduces the crucial colours motifs of red and green in relation to Madeline. She is instantly noticeable and stands out from the rest of the patrons as she is wearing a bright green shawl around her shoulders which is typically associated with rebirth as she is bringing new life into him and conveys the beginning of his obsession with her. The green contrasts with the overwhelming and intense red of the walls, also connoting lust, obsession and danger reflecting Scottie's instant and intense lust for Madeline but hinting at the danger that surrounding her as Gavin has conveyed his concern for her mental health. Madeline also has exposed skin, instantly encouraging us to see her as a sexual object. As she walks forward the men walk behind her and out of the shot to further reinforce that she is all that Scottie can see and when she stops in front of the doorway it frames her like she is painting, she looks perfect and immaculate. All of these micro elements introduce Madeline as a character whose main narrative function is to be gazed at.

Mulvey's statement is challenged with the introduction of Midge as she is not represented as a sexual object for the characters or the spectators. Unlike Madeline, Midge has no grand introduction to the spectator and she is just there in the scene, instantly signifying to us that Scottie does not see her in a sexual way and that we should not either. The music in the scene is feminine but not romantic, irrelevant to the scene and does nothing to alter our view of Midge, Scottie even complains and requests her to change it. The shot types used for her are plain, still and high angled to paint her as cold and judgmental as she scolds Scottie, we also do not get a chance to gaze at her as we are denied Scottie's point of view. Midge is unattractive to Scottie as he is unable combat his castration anxiety with her, she isn't passive or dominated in conversation like Madeline is, she calls Scottie child names, treats him like a child and doing this undermines his masculinity, furthers his femininity and reinforces his castration anxiety.

Mulvey also states that men project their fantasy onto the female form which is styled to his taste, which is exactly what Scottie does with Judy as Scottie wants to feel powerful and in control to combat his castration and regain his masculinity. Scottie projects his ideal on to her and forces her to change her appearance to fit his fantasy and combat his castration anxiety. In the first make over scene in the store Scottie asserts his masculinity as despite her protests she is forced into passivity and cooperation. Scottie hardly looks at Judy directly as she is not ideal or perfect so she does not connote 'to be looked at ness' and is not worthy of his gaze, the shot types and techniques used on her are plain and uninteresting convey how Scottie sees her before her transformation. The colour motif of green is brought back in this scene as Judy's dress is green on the bottom half conveying that her transformation into Madeline is almost complete and Scotties obsession is beginning to resurface. The transformation scenes also reflects Hitchcock's idealization and obsession with blondes and situations in real life that occurred with Novak. Hitchcock is notorious for his obsessive behaviour with his blonde leading ladies and in production for Vertigo he was in complete control of Kim Novak's clothes, hair make up, who she spoke to and what she ate. Much like the make over scene with Scottie and Judy, despite Novak's protests about her costume choices he in forced his dominance and she was forced to comply with him.

In the motel scene when Judy completes her transformation into Madeline we see the resurgence of green as motif for rebirth and obsession which starts off subtle and gradual conveying that Scottie's obsession is gradually returning during the scene. The motel light shines through the window creating a slight green glow in the room. Judy's transformation is half complete as the hair is still not perfect, she is shot in  and Judy walks towards the door where the green is most prominent, as she enters she dies as Judy and is reborn as Madeline. When she walks out of the bathroom she steps out into a green mist, the fog filter creates a ghostly effect around her as if she is coming back from the dead, we are once again given the opportunity to gaze as we are given Scottie's point of view. Scottie is then shot in a close up with the green light behind him engulfing him as he sees Madeline again as his obsession takes over him, it  is Scottie's rebirth as well as Madeline's.