1. Crime, Gender, Sexuality, and Genre in Horror- Slasher Films I The Objectified Feminine in Films Student Edition Based on Work by George Santora, Mary Lou Vredenburg and Katie Fields Created and Edited by Dr. Kay Picart @ 2002

2. Key Terms & Concepts  Scopophilia according to:  Freud: _______________________  Mulvey: _____________________ Continued on Next Slide

3. Key Terms & Concepts (2)  Discuss the following:  Male gaze: ______________________  Female to-be-looked-at-ness:  _________________________________ Continued on Next Slide

4. Key Terms & Concepts (3)  Characterize the following key terms in relation to each other:  fetishistic scopophilia,  fear of castration,  Symbolic Order,  Law of the Father Continued on Next Slide

5. Key Terms & Concepts (4)  Differentiate between the phallus and the penis.  The woman’s lack of a penis represents the fear of castration through three things:  _______________________________ Continued on Next Slide

6. Psychoanalytic Criticism The Basics of a Psychoanalytic Approach in the Study of Literature and Film  Of what use/significance is Psychoanalytic Criticism in relation to Literature and Film? Continued on Next Slide

7. Freudian Models of the Psyche

8. The Dynamic Model  ______________________________ ______________________________ ______________________________

9. The Economic Model  _______________________________ _______________________________ _______________________________

10.  This model has three components. (Characterize each.)  __________ Continued on Next Slide The Topographical Model

11. Freudian Developmental Stages  What are these?  What do they signify?  What functions do they serve?

12. The Pre-Oedipal  In the Pre-Oedipal:  _______________________________ _______________________________ _______________________________

13. The Oedipus and the Castration Complex  The Oedipal Complex functions as _________________________________ _________________________________ _________________________________ Continued on Next Slide

14. The Oedipus and the Castration Complex (2)  The Castration Complex forces the child to ______________________________________ ______________________________________ ______________________________________ Continued on Next Slide

15. The Oedipus and the Castration Complex (3)  Two events must occur in order to bring the child out of the Pre-Oedipal stage and into the world of adult heterosexuality. These are:  _____________________________________________ _____________________________________________ Continued on Next Slide

16. The Oedipus and the Castration Complex (4)  The result of these two factors is that the male child ______________________________________ ______________________________________ ______________________________________

17. The Post-Oedipal and Genital Organization  latency stage: ____________________  Last the child undergoes genital organi- zation, which:  _________________________________ _________________________________ _________________________________

18. Lacan  Lacan’s major revision of Freud is: ________________________________  Lacan maps out three domains: (Characterize each).  ________________

19.  The Mirror Stage occurs when...  _________________________________ _________________________________  It’s significance is:  _________________________________ _________________________________ Continued on Next Slide

20.  The Unified Ego is true or a myth, according to Lacan? Justify your answer carefully.

21. Gender Separation Assumption of of Desire  In the Symbolic Order, _____________ is the most important category.  Everyone must be named in language as ______ or _________.  The _________ is subordinated to the ____________. Continued on Next Slide

22. Gender Separation (2) Assumption of of Desire  Here Lacan, as Freud did before, claims that the role of the ______ is that of a symbol of society’s rules.  He imposes these rules through the ______________. Continued on Next Slide

23. Gender Separation (3) Assumption of of Desire  To understand what it means “to be male” is only to ____________________  Males only know themselves through the_____________________________, which is the reason they are fragmented. Continued on Next Slide

24. Gender Separation (4) Assumption of of Desire  According to Lacan a __________________ does not exist  ________________ can not obtain a full relationship.  Male and female can/cannot (choose one) have complete knowledge of each other. Continued on Next Slide

25. Gender Separation (5) Assumption of of Desire  The ________ poses the symbol of the rule of language and culture over the individual.  __________ possess the _______, therefore at the same time, they can lay claim on the ______________. Continued on Next Slide

26. Mulvey (1)  Mulvey states that the purpose of her paper is to _________________________________ _________________________________ _________________________________ Continued on Next Slide

27. Mulvey (2)  To achieve her goal, Mulvey employs the following technique:  She utilizes the framework of_________, and __________ gender formation to illustrate the role of the woman in a ___________ culture. Continued on Next Slide

28. Mulvey(3)  The __________ “then stands in patriarchal culture as the signifier for the male other, bound by a symbolic order in which ________ and obsessions through linguistic command by imposing them on______________________________.” Continued on Next Slide

29. Mulvey (4)  According to Lacan it is the absence of the ______ that serves as a means for the male to gain his identity, her ______ serves as the bearer of the meaning of what it is to be ________.

30. The Male Gaze  Mulvey states that the pleasure of cinema is derived from “___________” (the love of looking). Continued on Next Slide

31. The Male Gaze (2)  She divides this idea into two aspects. Characterize these.  _____________________ Continued on Next Slide

32. The Male Gaze (3)  ________ Scopophilia  ______________________________________ ______________________________________ ______________________________________. Continued on Next Slide

33. The Male Gaze (4)  __________ Scopophilia  _________________________________ _________________________________ _________________________________ Continued on Next Slide

34. The Male Gaze (5)  The reason the object of the scopophilia is always ________ stems from the fact that _____________________________.  This has to do with _______________ when a man is _____________. Continued on Next Slide

35. Women As Threat (2)  The very presence of a woman induces the _____________ that fostered the gender identification in the male, that makes her a permanent manifestation of the threat of castration.  Good Filmic Examples come from the Film Noir genre of the 1940’s and 1950’s. Continued on Next Slide

36. Escaping Castration Anxiety  Mulvey lists two avenues of escape from castration anxiety represented by the presence of a woman. These are:  Voyeurism  Punishment through Fetishistic Scopophilia Continued on Next Slide

37. Escaping Castration Anxiety (2)  The first is voyeurism.  Characterize this, and give examples. Continued on Next Slide

38. Escaping Castration Anxiety (3)  Voyeurism as applied to film means that.... Continued on Next Slide

39. Escaping Castration Anxiety (4)  This _________________ is made possible by the idea of the fragmented Ego outlined by Lacan (occurring when the child identifies himself with the more perfect, more complete, more ideal ego perceived in the mirror). Continued on Next Slide

40. Escaping Castration Anxiety (5)  The Ego projects itself onto the _________and vicariously shares in the power as he controls the events on screen. Continued on Next Slide

41. Escaping Castration Anxiety (6)  The second avenue of escape from cas- tration anxiety is fetishistic scopophilia.  Fetishistic Scopophilia is:  _________________________________ _________________________________ Continued on Next Slide

42. Escaping Castration Anxiety (7)  This is pleasurable because it is a __________ for the loss of _________ when the child is brought out of the Lacanian imaginary, into the world of the ____________.

43. The Effects This Has on Film  Mulvey states that the aspect of feti- shistic scopophilia forces a _______ in the flow of the narrative while we contemplate the object on the screen. Continued on Next Slide

44. The Effects This Has on Film (2)  The sadistic quality of narcissistic scopophilia demands a ________, forcing a change in an other person, a battle of will and strength, victory and defeat, all in linear time with a beginning and an end. Continued on Next Slide

45. The Effects This Has on Film (3)  This structure appeals to the male ego where he can ________ as the object of desire (male fantasy) and enforce his dominance through control and manipulation of the object, giving him a sense of omnipotence. Continued on Next Slide

46. The Effects This Has on Film (4)  Lastly, this (male-oriented) mode of re- presentation leaves the female viewer with only two choices:  To identify with ________________.

47. Marnie  Alfred Hitchcock, Marnie, 1964. Starring Tippie Hedren (Marnie Edgar) and Sean Connery (Mark Rutland).  Hitchcock’s narrative in Marnie utilizes both _________ and __________ scopophilia. Continued on Next Slide

48. Marnie (2)  In the opening sequence the camera ________________________________.  This immediately __________________  ________________________________  (narrative effect?). Continued on Next Slide

49. The Objectified Female Opening Scene from Marnie

50. Marnie (3)  This is followed by Mr. Strutt’s descrip- tion of _________, and the fact that _______________________________.  This method of ____________ is used sparingly, in comparison to the voyeuristic method. Continued on Next Slide

51. Marnie (4)  Instead Hitchcock relies on the _________ of narcissistic scopophilia to drive the narrative.  Mark Rutland (Sean Connery) says of his reasons for hiring this woman he knows is dangerous: _______________________________ Continued on Next Slide

52. Marnie (5)  From this point on Mark Rutland con- trols the events of the narrative as he ________________________________ _______________________________. Continued on Next Slide

53. Marnie (6)  The result is: _______ and ______________, will have control over the diegesis, and possession of the fetishistic desire.  This is why Mulvey says that the _______________________________. Continued on Next Slide

54. Marnie (7)  Mark Rutland’s lost desires from the ________ phase (when he was a child, compare Lacan) are -- in a way -- recaptured through his ______ fantasy. Continued on Next Slide

55. Marnie (8)  Additionally, the split in the Ego from the emergence into the realm of the symbolic is temporarily _______ as the viewer identifies with his ideal like in a world where he controls everything with omnipotence and possesses the object of his desire. Continued on Next Slide

56. Marnie (9)  Rutland says to Marnie that he can’t let her go, because he needs to take care of her, and secondly he will be “______________.”  This is the “punishment” that Mulvey talks about! Continued on Next Slide

57. Marnie (10)  This illustrates his desire to _______ her, and to enforce upon her _________ in the male centered realm of the symbolic.  He then tells her they are to be married and ____ will be in charge (see film still next slide). Continued on Next Slide

58. The Object of Male Desire Tippie Hedren as Marnie Edgar

59. Marnie (11)  In the end it is Rutland who forces the emergence of the suppressed trauma of Marnie’s youth, by _________________.  Once there, he __________ the direction of the narrative between mother and daughter until the “truth, the whole truth, and nothing but the truth” emerges. Continued on Next Slide

60. Marnie (12)  As ________ for his manipulations, Marnie gives herself to him _______ in the final scenes of the movie.  “I don’t want to go to jail, I____________.” (Marnie Edgar, as she stands outside the door facing the car. After this, the camera zooms out in a crane shot to come full circle to the beginning shot of the harbor). Continued on Next Slide

61. Marnie (13)  The ________ viewer is left with a sense of satisfaction from Mark’s reward.  Mark depicts the _______ projected self. Continued on Next Slide

62. Marnie (14)  Through earning the possession of the object of his desire (through events he manipulated) the viewers are experien- cing ___________ over the ________ of the female. Continued on Next Slide

63. Marnie (15)  The female viewer is left to either assu- me:  the role of ________, i.e.. the object of the male’s desire and control -- or - -  that of ____________.

64. René Magritte: Analyze Magritte’s painting using Freud, Lacan or Mulvey