The Sculptor and the Professor: Two ages of objectification by the film spectator

Author:

Balakrishnan Vinod1,Asokan Ponnamma Anupama1

Affiliation:

1. 0000000406354862National Institute of Technology

Abstract

A paradigm shift has happened in the relationship between the spectator and the woman-on-the-screen. The shift from an analogue to a digital era implies that the dynamics of objectification have also shifted irrevocably. The two ages of voyeurism are characterized, respectively, through Hitchcock’s Rear Window (1954) and Alex Garland’s Ex Machina (2014). The paper reads that the voyeur in the analogue frame of Rear Window (Jeff) is in a metaphoric relationship with the women-through-his-lens while the spectator ‐ post-2013-drawing from an archive of pornography is in a synecdochic relationship where the woman is, to invoke Shelley Jackson, a ‘Stitch Bitch’. The article posits that the telltale shift has caused a change in the materiality of the woman which has, technologically, gravitated from a celluloid frame to an algorithmic reconstitution. It means, in the digital era, the spectator‐voyeur’s relationship with and the objectification of the woman has been reset: From Pin-up to the Patchwork girl.

Publisher

Intellect

Subject

Communication,Cultural Studies

Reference36 articles.

1. Male sex roles and epithets for ethnic women in American slang;Sex Roles: A Journal of Research,1984

2. Observer or observed? A reversible perspective in person perception;Sociometry,1969

3. Barraclough, L. (2013), ‘Digital cinema conversion nears end game’, Variety, https://variety.com/2013/film/global/digital-cinema-conversion-nears-end-game-1200500975/. Accessed 10 September 2019.

Cited by 1 articles. 订阅此论文施引文献 订阅此论文施引文献,注册后可以免费订阅5篇论文的施引文献,订阅后可以查看论文全部施引文献

1. The Sculptor and the Professor: Two ages of objectification by the film spectator;Catalan Journal of Communication & Cultural Studies;2020-04-01

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