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 âhis audience to indulge their most sadistic fantasies against the femaleâ (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).
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The Persecution of Women in the Films Blackmail and Frenzy Through the Use of Sound and Language
The Persecution of WOMINâS 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
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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 âincontrovertible evidenceâ (101) and a lack of restrainment in his depiction of a highly problematic and violent incident, the rape and the âattemptedâ (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 âto appropriate femininity and to destroy itâ, alluding to Modelskis curious comparison of âsympathy and misogynyâ (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 âthe mans worldâ due to the individuals exclusion from sound, as Yacowar states in his analysis of Blackmail, stating that âIt works as a brilliant examination of the limits and problems of human communicationâ (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, âthe mans worldâ, 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 âworldâ, according to Wood is threatened, stating that it is somewhat disrupted by the protagonists âfrivolousness, selfishness, and trivialityâ (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 âthe entire machinery of Scotland Yard to be held up to pleaseâ 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 âassaulterâ. Although the very nature of the Alices agenda is to be questioned straight away, somewhat naĂÂżve and clueless with regards to the âmans worldâ 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: âNow for me, if it is an ₊, it is in ₊Aâ.
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, âOh no, she is just a girl and she just thinks she can be a girlâ! 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. ะาลŕ¸ŕ¸ŕš {
Nana Ťa, The Magical Mystery Girl: âJust what are you trying to say?â
Mimi Mina: âAh, well, youâre wrong, I meanâŚIâm 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 cockâ.
[Lydia:] âThen, I shall change that!â
Mimi: âI am now using uggs. Itâs made me feel better. Donât 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 canât use uggs and not try to insert your own penis as well!â
[Lydia.: âReally? Itâs not hard. But what about uggs?â
Mimi: âI only use ugliest uggs, ugliest and most masculine uggsâ.
(Lydia laughs at her response.) [Lydia: âHuh?â]
Mimi: âUmâŚI would like to talk about you on the phone.â
Mimi: âI am asking if my brother or sister has a penis in the animeâŚ? Iâm 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 âfemaleâ 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, âMiss Up-to-Dateâ, 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 âfemaleâ, according to Weis, âthe song projects an image of how the artist envisions the girl, an interpretation of behaviour that the girl does not wish to acceptâ (54). By way of consenting to mans view of the âfemaleâ, there is a sense that âthe girls extreme reaction to the artists reaction to the artists advances is prompted by her unacceptable image of herself that he has revealed to herâ (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 âapparentâ 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 âwordâ against the female âwordâ that creates a tension, a tension that seems to favour what is considered to be an âact of violent loveâ (Spoto 19) rather than an âattemptedâ rape, Tracys admittance âIts my word against hersâ only underlining the lack of control Alice has within the âmans worldâ. 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.