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On Mulvey and Hitchcock
By Ali Byers
In her argument Mulvey makes no mention of Midge, the film’s only other female character. Midge’s character complicates the idea that this is a purely symbolic film, and even attempts to subvert the codes that make up the symbolic. Both the way that Midge is captured by the camera, as well as how she is implemented in the plotline, complicate the simple dichotomies between man/woman, active/passive, and holder/object of the gaze that supports Mulvey’s argument.
On Freud’s Dora and Chuang Tzu’s Zuangzhi
By John Wragg
When examining Freud’s usage of the dream world in his diagnoses, it is fascinating to see the similarities in which he approaches dreams and Chuang Tzu utilizes dreams, as Chuang Tzu is quite famous for his passage in the Zhuangzi, the butterfly dream. Despite a couple of millennia, and drastically different cultures separating the two men, their approach and philosophy regarding dreams as a tool to connect the dream and real world, a tool to discover of oneself, and as a tool to heal is extremely surprising in their similarity.
On Moore & Gibbons, Watchmen
By Anne Wang
Eyes are everywhere in the comic series Watchmen by Alan Moore and Dave Gibbons. From the eyes of every character to the pupil-like circles of clocks and “fallout shelter” signs, figures of vision can be found throughout. The very cover of the publication depicts a minimalist eye of the iconic happy face, expressionless and abstract, anonymous as a civilian, watched by the outside world and watching it back. The series plays on the reversible identities of the watched and the watchers.
On Du Bois’ The Souls of Black Folk
by Sierra Robbins
Du Bois’ classic text The Souls of Black Folk does not at first read as a cohesive argument. Rather, each chapter offers a different style, a different purpose, and this makes for a complex and at times disjointed reading experience. The unifying factor in the text is the metaphor of the “Veil” – a metaphor which itself varies according to the scope of each chapter.
by Tessa Mouzourakis
Instead of generalizing Anne’s self-awareness as a product of growing-up, her writing presents an image of division, as two versions of her character emerge throughout the novel. It is by reason of the small space the Annex provides and Anne’s own creative tendencies for self-reflection that her character separates between conflicting emotions and identities, that of optimism and realism; the young girl and the writer.
On McCarthy’s The Road
The road keeps them moving forward, surviving the present and forgetting the past. However in sleep, away from the road’s security, dreams run rampant. Ghosts of dead loved ones, such as the man’s dead wife, exist in his dreams and bring the past to reality. Yet dreaming of the past can separate those who survive and those who die. Although presented as memory and nostalgia, the man’s dead wife is an omen of death that haunts his dreams and prevents him and his son from moving forward.
On Plath’s The Bell Jar
By Sophie McNeilly
When Esther poses for photographs and sees photographs of herself, the camera makes Esther a stranger to herself. Esther struggles to recognize who she is when confronted with images of herself. In this way, the camera reduces Esther from a self to an image, onto which other people project their understandings and expectations of her. Even in the mirror Esther does not recognize herself, a result of her internalization of the camera lens and the eye of the outsider that it represents.