True Likeness by Catherine Grant

True likeness: Peeping Tom and Code inconnu/Code Unknown Related articles Psicanálise, Criptografia, Nazis e Peeping Tom: Emergency Island Direct Emotional Realism: The People’s War, Classlessness, and Michael Powell’s Peeping Tom Leo Marks, World War II codebreaker turned controversial screenwriter

Anna Massey (1937 – 2011)

Apesar de ter sido uma atriz predominantemente de teatro e televisão (chegou a ser Gertrude Bell no Jovem Indiana Jones, ao lado de Cyril Cusack como George Clemenceau!) e ter herdado genes cheios de talento, digamos que ela teve “seus momentos” no cinema e TV trabalhando com figurinhas desconhecidas como John Ford (seu padrinho nãoContinuar lendo “Anna Massey (1937 – 2011)”

Peeping Tom: 50th Anniversary Blu-Ray

An instructive example of the use of Lacanian theory to examine film is provided by Parveen Adams in her essay on Michael Powell’s Peeping Tom, which tells the story of a young man, Mark Lewis, who films women as he kills them. The film raises questions about the pleasure of the spectator, since the spectator is placed in a position similar to that of Mark Lewis, who Adams argues is a pervert. Such a comparison between the pleasure of the spectator and the enjoyment of the pervert is certainly not new to film theory; it has even become somewhat of a cliche. However, it is precisely this comparison that Adams objects to, on the grounds that it ‘fails to distinguish between a pleasure and the question of jouissance. Adams argues that while Mark Lewis is (almost) entirely caught up within the perverse circuit of jouissance, the spectator is gradually separated from this scenario by a number of crucial shots in the film which disrupt his/her identitication with the protagonist. The jouissance of the perverse Mark Lewis leads him eventually to his death; the framing of certain key images in the film puts the spectator in quite a different position, a position from which a safe pleasure may be derived.

Key Concepts of Lacanian Psychoanalysis

24 Frames: Peeping Tom (Michael Powell, 1960)

As Molly Haskell and others have noted, two main cycles of films have dominated commercial cinema since the mid-1960s in the wake of the women’s movement. The first excluded women (these were the so-called “buddy-buddy” films) in an effort to avoid the problem of sexual difference altogether; while the second, emerging when the problem ofContinuar lendo “24 Frames: Peeping Tom (Michael Powell, 1960)”

As Musas de George Cukor – Parte 1

Porque não faz o mínimo sentido ter feito uma seleção das atrizes de Allen e não do mais notório “diretor de mulheres”, o homem pela qual todas as divas clamavam: Mr Cukor.