Voyeurism: Hitchcock's Obsession When looking at two of Alfred Hitchcock's most critically acclaimed movies, Rear Window and Vertigo, it may be difficult to tell that they are similar in any way. But after further review, it becomes fairly evident that the two films share a strong common bond. Hitchcock uses voyeurism as a main theme in both of these masterpieces, and the voyeurism is connected in many surprising ways: it is evident in the careers of the male voyeurs, causes serious damage to their relationships, and changes from unauthorized looking into neighborliness. The voyeurism used in Rear Window is very similar to that used in Vertigo. First off, the male protagonists, Jefferies and Scottie, are both employed in fields that involve the use of voyeurism. The voyeurism also causes serious damage to the relationships of both the men. Thirdly, both Jefferies and Scottie try to "fetishize" their female counterparts, Lisa and Judy, respectively, and make them into something of their own image; something that the women simply are not. Finally, the unauthorized looking in both of the films changes to looking out for and caring for their fellow man; in other words, voyeurism turns into neighborliness. In Rear Window, voyeurism is perhaps the most permeating theme throughout the entire movie. This unauthorized viewing is almost exclusively done by Jefferies. The voyeurism, however, causes him some serious problems. In Rear Window, the voyeurism is readily apparent even in the first few minutes of the film. As it is revealed, Jefferies is a photographer. A photographer is the epitome of a voyeur, as in the course of the job it is routine to peer into the life of something, whether it is a plant, an animal, or a person. As Robert Stam and Roberta Pearson point out in their essay, "Hitchcock's Rear Window: Reflexivity and the...
pages: 11 (words: 2772)
I think that An American Werewolf in London is too funny to be just a horror movie, even though Dave's story is too sinister to be in a comedy. Firstly, let's think about the title. Most horror films have one or two word titles e.g. The Omen, The Ring etc. to help build up suspense, but this film, An American Werewolf in London, its title is almost a whole sentence. There's a bit of mystery in it – why would an American werewolf be in London? – but it doesn't really sound scary because the title is too long, unlike films like Scream, Tremors etc. The opening sequence shows a montage of shots of the moors. The landscape is desolate and abandoned. It is cloudy, shadow and misty. Here you think this could be a horror, but coupled with the background music, a fifties/ sixties pop ballad called Blue Moon, it appears to be a film about the moors and not a monster that lives in them. Then the truck arrives and the driver unloads two American men from the back, where they had been sitting with the sheep. They walk off, talking about women, sex and they start joking – something that you wouldn't expect to happen in a horror movie. It takes a horror themed turn when they arrive at a pub called the Slaughtered Lamb. But again, Jack makes a joke here – Where is the Lamb? – he says. So they enter the pub, and everyone in there, knowing that it is the night of the werewolf, everyone became hostile to the visitors. They all felt safe in here because they know that the werewolf is none of them, but these two strangers, one of them could be the werewolf, so they told them to leave. But before they...
pages: 3 (words: 674)
EGV Entertainment Public Company Limited At present, entertainment business in Thailand has a high competition especially in theatre business. This high competition occurs because of the enormous expansion of Thai films industry. The annual ticket sales of Thai movies are valued at 819.63 million Baht, which is as high as 24.14% of the movie market value. It is expected that the value of the film market in 2003 is as high as 3,900 million Baht, a 15% growth from 2002. This is the result of the continuous growth of the Hollywood film industry. This year there are 280 films waiting to be screened; 20-25 of which could be Blockbuster ones. This growth is also enhanced by at least 40 new Thai films that are being produced this year. The potential for the growth of the theatre business can be seen from such business indicators as population per screen. The group approximates that the population per screen in Bangkok and its surrounding areas is 50,000-60,000 people per screen, which can be considered extremely high when compared with the 7,230 people per screen in the USA in 2001. The average ticket price in Thailand is equivalent to 2.0 USD, in comparison with 5.62 USD in the USA . Because of high competition, it is necessary for the entrepreneurs in Thailand to improve and develop their service continuously in order to compete with other movie vendors. Customers will benefit from this improvement because they are offered better service and more convenience at a cheaper price. In 2003, there were only 3 big cinema operators in Thailand, with EGV Entertainment ranked second. As a consequence, we decided to study about the process of the service in this segment in order to make recommendations which could be used improve operations at EGV, moving them into the leadership...
pages: 3 (words: 703)
Dear Miss Renee Zelwegger, I must start by thanking you, on behalf of the London Stage Productions Corporation, for taking part in my latest production. The title of the play is to be 'An Inspector Calls', a remake of the original popular classic first staged in 1946. It's set in 1912 around the Birling family, who live in the industrial town of Brumley. Arthur Birling, owner of Birling & Company and head of the Birling family, is a prosperous manufacturer, and as a result the family are fairly well-off. The family are sitting in their living-room, enjoying a celebration of Sheila's engagement to Gerald Croft. Gerald is the son of the owner of Crofts Limited, Birling & Co's 'friendly rivals'. However their spirit is soon to be dampened as there is a knock at the door. It's an Inspector Goole, who is investigating the suicide of a young working-class woman named Eva Smith. Eventually it's revealed that every member of the family have in some way contributed to the death. The moral message of the play is not to be selfish, and social attitudes aren't always morally correct. This means that although it may be accepted in society, it doesn't necessarily mean that it's right, for example racism in the 1950s and 1960s. It shows how one person's actions can affect another person's feelings. J.B. Priestly also intended this play to be a modernized morality play, exploring the difficulty of putting your religion into everyday practice. At the start of the play, Sheila is 'very pleased with life', as she is young, attractive, and has just got engaged. I would imagine that her rich background would mean that she has had rather a sheltered lifestyle and a good education. Her involvement with the death of Eva Smith came when she has her fired for...
pages: 4 (words: 977)
I think that most of today's cartoon characters and things like them are more out to entertain and educate people than just make money and sell merchandise, although there are always a few exceptions. The reason why I think this is because I think that when someone is creating a new television show or something like it they do it because they have an idea of something they would like to see on TV or something they think children would like. Or for example movies, I think that the people who make them probably enjoy creating the movie itself and have something they think would make an exciting story that they want to share with people. An example of a few things that do sell merchandise but are for sure more out to educate are Smokey the bear, the Power Bug that says stay away from the lines, and Astar the robot who always gets his limbs chopped off in commercials. It is quite obvious that these 3 examples are for education because in the only things they are featured in, commercials and possibly ads, the message they deliver is always the same and it is to educate about, forest fires, dangers of power lines, and to be safe when around trains and hazardous equipment. Some TV shows that have merchandise and both entertain and educate are GI-Joe, Barney, and Blues Clues. When you think GI-Joe you may not think it is very educational, but at the end of every episode there is a public service announcement with a little skit for demonstration of what they are talking about in the announcement. Barney and Blues Clues are both children's shows that have tons of merchandise out but are also educational and children find them very entertaining. Some of the companies who make...
pages: 3 (words: 575)
American culture has evolved greatly over the years. Morality and strong family values have dissipated in the wake of the sex, drugs, and violence that seem to rule the television, movie screens, radios, and stereos. Jockeys of the media use the vulgar and largely unnecessary elements of drugs, sex, and violence, often exaggeratedly, to enhance their own image as the entertainment industry shamelessly exploits sex, drugs, and violence to make money. Explicit Society refers to the profound and often negative aspects of the media and entertainment industry as they have affected American culture. Most explicit material is found in movies, television, and magazines, whether the program is a news show or situation-comedy, ad in a teen magazine or article about a band or celebrity, sex, drugs, or violence always appears to be there, and what is so much worse is that the individuals affiliated with these programs are heaving sex, drugs, and violence onto the public and encouraging sex, drugs, and violence, and almost always in their most negative forms. Much of this corrupt explicit material is directed at a younger, more impressionable, and more rebellious audience. Since the first network television broadcast in 1946, less then a year after the tremendous end to World War II, there has been a dramatic change in television programming. Early programs of the 1940s, 1950s, and some on the 1960s were comedies closely based on family matters with absurd notions. The male was the superior in every family, women did little outside of housework and maintaining a warm loving environment at home, and the children were mindless, isolated, and had no real challenges concerning drug, alcohol, sex, or violence. If the family had any pets, they were usually a dog or a couple of fish. These shows were blandly tasteful and not completely in tune with reality. It was...
pages: 7 (words: 1925)
There are great consensus in the scientific literature about the unhealthy effects of media violence. Quantitative-analyses show that media-violence viewing consistently is associated with higher levels of antisocial behavior, ranging from the trivial limitative violence directed against toys) to the serious (criminal violence), with many consequential outcomes in between (acceptance of violence as a solution to problems, increased feelings of hostility, and the apparent delivery of painful stimulation to another person). Communication researchers have conducted a wide range of studies to investigate the relationship between mediated factors and the subsequent aggressive behavior 2. The rapid growth of media and its appeal to audiences have triggered concern about its impact on viewers . High level of violence may promote violence or produce harmful effects especially among the young audiences a)The major initial experimental studies of the cause and effect relation between television/film violence and aggressive behavior were conducted by Bandura 1 and his colleagues. In a typical early study conducted by Bandura (Bandura, Ross & Ross, 1963), a young child was presented with a film, back-projected on a television screen, of a model who kicked and punished an inflated plastic doll. The child was then placed in a playroom setting and the incidence of aggressive behaviour was recorded. The results of these early studies indicated that children who had viewed the aggressive film were more aggressive in the playroom than those children who had not observed the aggressive model. These early studies were criticised on the grounds that the aggressive behaviour was not meaningful within the social context and that the stimulus materials were not representative of available television programming. Subsequent studies have used more typical television programs and more realistic measures of aggression, but basically Bandura's early findings still stand. (b)*1 Yet another laboratory experiment by Leornard Berkowitch justifies the harmful media...
pages: 5 (words: 1194)
Jane Feuer, in her essay "The Self-Reflective Musical," writes that a prolific characteristic of the musical film genre is to create an illusion of enhanced entertainment by manipulation of three themes: spontaneity, integration, and recognition of an audience. These themes all serve to naturalize individual musical performance and to involve the film's audience more closely with the plot and its characters. Singin' in the Rain (Stanley Donen and Gene Kelly, 1952, USA), true to its genre, encompasses this artificial aura of entertainment, deceiving its audience into genuine concern for its characters. Key to the musical's power as a genre has been to embody American popular mythology. For example, by juxtaposing romantic relationships with the inherent energy and grace of song and dance, the musical illuminates courting with an almost magical quality. By celebrating common traits of the musical genre film, Kelly's most celebrated work turns entertainment into myth, convincing its viewers to laugh with its jokes and engage the film's plot points. Spontaneity in the delivery of song serves to both hide the planning and technology applied to the performance and to emphasize emotion projected by films in the genre. Watching someone burst into energetic song and dance in a somewhat random manner projects an almost over-emphasized sense of emotion within a character, whether it be glee or melancholy. A good example of this phenomenon occurs in Gigi (Vincente Minelli, 1958, USA).Watching Maurice Chevalier and Louis Jourdan quibble musically over the life that accompanies the Parisian aristocracy in "It's a Bore" helps to emphasize the seemingly never ending fun and excitement that Gaston refuses to recognize. Chevalier's message to Gaston is emphasized by the contrast between his spontaneous entry into song and the laid-back and fun-loving characteristics that he engenders in most of his films. Singin' in the Rain, similarly, uses...
pages: 7 (words: 1715)
From her first display of clothing in 1995 of Islamic Calligraphy in New Delhi to her present fashion show in Paris Couture Fashion Week 2007, Nilofer Shahid by far is the ambassadress of her country's tradition. Meeras is one of the leading haute couture fashion house in Pakistan, it produces bridal, formal, causal and western wear for women along with accessories and its own exclusive men's wear line. Nilofer Shahid of this renowned fashion house belongs to a prestigious Pathan family of warriors, poets, writers and painters. Her progressive and culturally rich family has endowed her with a sensitive appreciation of the art and rich tradition of an ancient land. Meeras means heritage and her creation capture, in their richness, intricacy and attention to detail, the grandeur of the vast Islamic legacy .Her detailed research into each one of her themes ensures that her creations are true to their origins but also display her magic touch, whether it is her Central Asian line, her Mughal Recreations or her Moroccan inspired ensembles. Equated Dior of Pakistan by 'Le Figaro' in Paris, Nilofer's forte lies in the profound attention she pays to detail; every collection is preceded by intensive sessions of research so that every piece is a depiction of art as it is of history, of couture as it is of culture. All this contributes to her strong signature style, which has managed her to capture clients from all over the world. What inspired you to become a fashion designer? When I started there were no fashion designers in Pakistan. For me it was a series of evolution that aspired me to become a fashion designer. In late 70s this career was quite challenging, as there was no recognition of fashion designers. My interest in couture led to a little workshop in 1978. I started...
pages: 6 (words: 1531)
Background The entertainment industry demonstrates a multi channel structure, with companies owning several forms of companies in each link of the value chain. The industry is converging toward a single model, which combines production of content with multichannel distribution. All companies try to sell content in many ways, e.g. movie, TV show, book theme park, etc. All but two of major players in the industry conform to this model. Non-conforming companies have regulatory barriers (foreign owned) or do so out of choice. Some companies (Disney) buy distribution channels, i.e. networks (ABC); others build their own (News Corp., Time Warner) or do both Viacom (WB, CBS). The newest trend is to combine production and distribution with added distribution possibilities of internet (AOL Time Warner, Vivendi Seagram) CONTENT DISTRIBUTION Resources Creation Delivery Retail Actors/Writers Television Production/Movie Production Broadcast Television Networks/Cable television Networks Movie distribution Local Affiliates/Local cable companies/Local theaters In this industry we find vertical integration through direct ownership, as well as commercial transactions via long-term contracts and one-time "spot market" transactions. Ironically, even the resources can be "owned" – as in the case of the old "studio system" which tied actors to studies for a number years. In today's industry, these arrangements are still in place, with actors signing on for "x number of picture" contracts with various studios. Production companies can either be independent or owned by integrated companies. In either case, production from one company may be sold to a competing network or distributor. Finally, local television affiliates and local movie theaters are sometimes bound by contract, sometimes entirely independent, or sometimes owned by networks. This last situation is usually the case with large metropolitan areas, where the networks want to have a closer link to the customer. Agents and other facilitators play a commercial conduit role of helping to bring together various people...
pages: 15 (words: 3946)