On Mulvey and on Hitchcock’s Vertigo
By Alexis Gervacio
Bespectacled, bold, and slightly boyish, Midge Wood does not easily fit into Mulvey’s analysis – she does not possess the “strong visual and erotic impact” characteristic of female characters (11). As such, this investigation will attempt to not only explain how Midge confounds the norm, but also why she is so different from the typical damsel-in-distress.
On Laura Mulvey and Spike Jonze’s film Her
By Grace Chang
Mulvey’s article, while intended to be a response to the films of Hollywood’s Classic Age of cinema (ca. 1930-1960), remains relevant. Hollywood remains a male dominated, dominatingly male, and heteronormative industry. However, a recent film, Spike Jonze’s Her, challenges Mulvey’s idea of physical pleasure and the gaze, seeking to break this erotic coding through the removal of the physical female form.
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.