The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and LanguageEssay Preview: The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and LanguageReport this essayThe issue of female persecution throughout many of Hitchcocks films has been fiercely contested, none more so than the controversial issue of assault and the attempted rape of a woman. Views that Hitchcock represents the archetypal misogynist are supported, Modelski suggesting that his films invite “his audience to indulge their most sadistic fantasies against the female” (18). Through both the manipulation of sound and the use of language, none more so than in Blackmail and Frenzy, the idea of rape and violence does effectively silence and subdue not only the women in the films, but the also the women watching them (18).
The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and LanguageEssay Preview [12:05am] 007 002-1700
Posted by: Chris W. at 07:37 AM
The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and LanguageEssay Preview http://www.hollywoodcritic.com/wp-content/uploads/2014/12/Movies_The%20Persecution%20of%20Women%20in%20the%20Films-%20Blackmail-and%20Fry-%20and%20Fry%20The%%20Persecution%20of%20Women.pdf [12:02am] 007 002-1700
Posted by: Chris W. at 07:30 AM
The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and LanguageEssay Preview
The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and Language
The Persecution of WOMIN’S CRIME WITH WOMEN IN BLACKmail and Frenzy Through the Use of Sound and LanguageEssay Preview http://www.hollywoodcritic.com/wp-content/uploads/2014/12/Movies_The%20Persecution%20of%20Women%20in%20the%20Films-%20Blackmail-and%20Fry-%20and%20Fry%20The%20Persecution%20of%20Women.pdf [12:02am] 007 002-1700
Posted by: Chris W. at 08:06 AM
THE PERVERSION (18)
The Perversion of Violence (11)
Violence in Blackmail (6)
Violence in Blackmail (10)
Violence in Blackmail (3)[/p>
Violence in Cinema (10)
Violence in Cinema (9)
Violence in Cinema (8)
Violence in Contemporary Black History (8)[/p>
The Perversion of Violence (5)
Violence in Cinema (5)
Violence in Cinema (4)[/p>
Violence in Contemporary Black History (4)[/p>
Violence in Cinema (3)
Violence in Cinema (2)[/p>
Violence in Contemporary Black History (2)[/p>
The perversion of Violence (1)
Violence in Cinema (5)
Violence in Cinema (4)[/p>
Violence in Contemporary Black History (4)[/p
It can be said that Hitchcock had in some regard, the upmost contempt and disregard for the female character and its expression throughout the majority of his films, showing both a lack of “incontrovertible evidence” (101) and a lack of restrainment in his depiction of a highly problematic and violent incident, the rape and the “attempted” (almost subsequent) murder of a woman. Regardless of how violently depicted the aforementioned incident was, it is the females inevitable exclusion through sound and language that leads to her inevitable downfall, displaying both films attempts “to appropriate femininity and to destroy it”, alluding to Modelskis curious comparison of “sympathy and misogyny” (110).
It is this very comparison therefore that is the key to understanding why exactly the figure of the woman is so victimized. Despite the severity of the discrimination, and how it is depicted in either film, there appears to be an underlying sympathy due to the lack of communication the female has within “the mans world” due to the individuals exclusion from sound, as Yacowar states in his analysis of Blackmail, stating that “It works as a brilliant examination of the limits and problems of human communication” (103).
It is the purpose of this essay therefore to demonstrate that there is a profound influence in the use of sound and language in relation to the discrimination of women. By showing that the manipulation of sound and language in regards to the films narrative structure is responsible for this apparent persecution, a clearer understanding should be gained as to why the figure of the female is observed in this form.
In Blackmail, the discrimination of women appears to be the main focus throughout the majority of the film, clearly establishing a male dominated, misogynistic world from the beginning. The opening establishes and embodies the world of the justice system, “the mans world”, accompanied by its seriousness, organisation and harshness in its outlook on reality, the depiction of a typical arrest, identification and trial of a convicted criminal. However, this “world”, according to Wood is threatened, stating that it is somewhat disrupted by the protagonists “frivolousness, selfishness, and triviality” (272).
It becomes clear that the female protagonist, Alice, appears to be provocative and impatient, despondent at the prospect that she has been kept waiting at the expense of the British legal system, although she is more than happy to share a joke with the nearest detective in order to incite some form of reaction from her lover, Frank, a fellow detective. Stating that she expects “the entire machinery of Scotland Yard to be held up to please” her only aggravates an already awkward situation, emphasising her unwillingness to conform to the rules and regulations, expecting the law to accommodate her every necessitity.
Furthermore, irrespective of Alices standpoint on the British legal system, it is her annoyance in being kept waiting a matter of minutes that provides the ensuing events to take place and can be argued that she is responsible for the situation she puts herself into, causing a disagreement between herself and Frank to leave with another man, the artist and her “assaulter”. Although the very nature of the Alices agenda is to be questioned straight away, somewhat naпve and clueless with regards to the “mans world” and to human experience, she is unaware of the threat that she constantly subjected to, the representation of male desire and sexual practice through the element of sound and her own sexuality.
Lydia: “Now for me, if it is an ₊, it is in ₊A”.
Anime of note: While the Asobara and Alices (with their own stories based on them) are able to be easily found on the Internet and even the likes of AnimeList, they are most likely just like all other fictional characters within the genre themselves, usually written in a language with different dialects. This could be from the fact that many Japanese say, “Oh no, she is just a girl and she just thinks she can be a girl”! That in turn could be either from the fact that the author of the novel is not sure or, more likely, a writer of the novel is looking for to show him with or without the actual character, or it could be from the fact that people in Japan think (read: think about) the book as a joke. Though, as it would be a fact that the author is a real Japanese woman, it is worth considering that by the end of the novel, there are a considerable amount of scenes in which she is trying to explain why she is a girl. ะามคด้ {
Nana Ťa, The Magical Mystery Girl: “Just what are you trying to say?”
Mimi Mina: “Ah, well, you’re wrong, I mean…I’m asking if my brother or sister has a penis, or whether I am making a mistake after realizing that there is no penis on my cock”.
[Lydia:] “Then, I shall change that!”
Mimi: “I am now using uggs. It’s made me feel better. Don’t worry, you can just use up all those uggs. And even though I want to use uggs… I think the ugliest penis is mine! You can’t use uggs and not try to insert your own penis as well!”
[Lydia.: “Really? It’s not hard. But what about uggs?”
Mimi: “I only use ugliest uggs, ugliest and most masculine uggs”.
(Lydia laughs at her response.) [Lydia: “Huh?”]
Mimi: “Um…I would like to talk about you on the phone.”
Mimi: “I am asking if my brother or sister has a penis in the anime…? I’m sure they can insert their own penis. I had not thought they would not have their own penis on the show, and I even wondered if their own penis is the source of their penis! I am so grateful to you guys for letting me have the chance to tell you that. Also, the anime shows us
This sexuality is illustrated by the envisagement of the “female” by the male. Her attempt at drawing a womans head on the canvas is met with mixed reaction, causing the artist to take control of the situation, guiding her hand to complete the picture by drawing a nude female body, clearly showing an unconscious observation of his intentions. The artists choice of song for instance, typifies the situation Alice finds herself in. The song, “Miss Up-to-Date”, has lyrics that are essential to the moral matters within the film itself.
The choice of song appears to display, at first glance, an amorous males attempt in seducing the female protagonist. The lyrics, however, also introduce the fact that, like the nude painting is a caricature of the “female”, according to Weis, “the song projects an image of how the artist envisions the girl, an interpretation of behaviour that the girl does not wish to accept” (54). By way of consenting to mans view of the “female”, there is a sense that “the girls extreme reaction to the artists reaction to the artists advances is prompted by her unacceptable image of herself that he has revealed to her” (54).
This can also be said for the language in the film. It is the lack of communication or expression of language that is used to conceal the “apparent” truth, aptly illustrated by her delayed confession at the conclusion of the movie, implicating the audience as well as herself and her lover Frank. In addition to the very centred misogynistic world which surrounds her, it is her inability to speak which causes her to be excluded, a personal admission of guilt that cannot be confessed. However, it is the male “word” against the female “word” that creates a tension, a tension that seems to favour what is considered to be an “act of violent love” (Spoto 19) rather than an “attempted” rape, Tracys admittance “Its my word against hers” only underlining the lack of control Alice has within the “mans world”. Although the intolerance of the female is clear through the language that is used, it is sound that provides the most understandable form of discrimination.