Seven Year Itch with Marilyn Monroe - Essay Example

?Introduction The gaze concept offered by Laura Mulvey is mainly regarded as the feministic approach towards analyzing images and video rows that areintended for male consideration. The images and videos are regarded from the perspective of sexism, and the concept claims that these are created to attract men only, and satisfy their need for eroticism. Such a phallocentric analysis is mainly associated with the dominant position of a man, while the general representation of a female image is linked with the necessity to strip, satisfy a man’s needs, and stay cute, a bit foolish, and, surely, attractive. (Mabry, 2001) The key aim of the research is to analyze the set of images from “Seven Year Itch” movie, with Marilyn Monroe starring in it. The image has become the classics of glamour photography, and it is often regarded by the gaze concept admirers as the brightest example of male domination over women. Therefore, the research is aimed at studying the different aspects of the image. Additionally the proper visual analysis is performed for differentiating the male gaze and dominance, from the natural female necessity to stay attractive and perfect looking. The key steps of the research will involve review of the image origin jointly with the relevance of the movie plot, and its relation to the Male Gaze concept. The key idea of the movie fragment is reviewed in order to realize the message. Then, there is a need to switch the research accent to the purely artistic factors, such as composition, framing, and other technical parameters. These are needed to realize the perception patterns and principles, i.e. how do the viewers have their look at the image. These aspects will be essential for analyzing the still from the male gaze perspective, as well as explaining the eroticism of the image with a barelegged girl. The interpretive possibilities, offered by the gaze concept are closely linked with the visual perception of a heterosexual man, and it is stated that men start looking through any image in accordance with its erotic composition. On the other hand, visual perception patterns of these images do not violate the standard perception rules, and this concept will be regarded in the paper as well. Theoretic Analysis Considering the theoretic approaches of the male gaze concept, and analysis of the image from the gaze perspective, the psychoanalysis angle should be taken into account. Since cinema provides numerous variants of visual pleasure, the scopophilia (which presupposes enjoying the views of a human body) is one of the key components of the sexuality in general (It is stated that Freud regarded scopophilia as one of the key instinctive components of sexual behavior). In the light of this fact, scopophilia defines people, who are looked at, as the sexual objects. From the psychoanalytic point of view, the necessity to observe a human body is regarded as an instinct that is rooted in childhood. Cinema, as visual art, seems to be distant from the necessity to observe others secretly. Nevertheless, most mainstream Hollywood movies are based on this aspect. In accordance with the research by Despotopoulou (2004) the male gaze is the key approach in classical filmmaking. Therefore, Laura Mulvey emphasizes the following consideration (Gagne, 2001, p. 140): "In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness," and as a result contends that in film a woman is the "bearer of meaning, not maker of meaning." By emphasizing this consideration, Mulvey presupposes that the psychoanalytic approach is essential for analyzing and understanding the process of the sexual objectification (as well as experiencing sexual fantasies) of the Girl (in relation to the movie). Therefore, Marilyn Monroe’s heroine becomes the exploitation object that is passively involved into the voyeuristic act. In general, the three perspectives are occurred that stimulate the sexual objectification of a woman. The male character is the first, and the most essential perspective, since his behavior, and his point of view define how the female is perceived by the audience. The second aspect is the perception pattern of the audience. As a rule, female audience is not taken into account. Additionally, the third perspective links the first two together: how the audience perceives the male character. Therefore, men imagine themselves instead of the male protagonist, and regard the heroine as a part of their own fantasies. The general interior and surroundings of cinema halls creates the illusion of watching over a private life. The spectators imagine that they are observing a real life; therefore, the sexuality of the good-looking actresses is projected into the sphere of private sexual fantasies. Image Origin. Movie Plot and Image Message Since the male gaze concept is based on the dominant male position, the images with erotic components are reviewed in accordance with the subdominant position of a woman. In general, it is hard to analyze the mainstream Hollywood movies of the 1950s from the contemporary point of view, nevertheless, since the male gaze concept and Laura Mulvey’s theory is outlined for these movies mainly, the proper understanding of the concept is impossible without taking into account the movie plot, as well as the characters of the protagonists. In the light of the fact, that heterosexual man’s perception of the image is associated with the chauvinistic views, the Mulvey’s theory may be regarded as the counterbalance to such chauvinism. Nevertheless, the movie plot may be interpreted in accordance to various positions. Therefore, behavior of Marilyn Monroe’s character may be regarded as a fawning simplicity and innocence in order to attract man’s attention; on the other hand, it may be regarded as a manifest of female liberty and freedom of actions, while traditional puritanical views consider public leg baring unaffordable. The image interpretation, therefore, may be changed in accordance with the interpretation of the heroine’s behavior. Taking into account the theoretic aspects of the male gaze (including the psychoanalytic perspective), the key features of the image are closely associated with the secret wish of the male audience to see more. While the Girl becomes a part of hidden sexual fantasies, the male protagonist – Richard Sherman – may be also regarded as a spectator. Therefore, while the male audience representatives associate themselves with Sherman, this means that his fantasies become the fantasies that belong to the spectators. Such a recursive projection of fantasies emphasizes the Freudian assessment of the human sexuality, as well as the role of hidden fantasies in forming it. Laura Mulvey, in her turn, emphasizes the importance of the visual images, as well as the male character as a contrast to the female image. Composition Rules and Male Gaze Concept Considering the basics of visual arts, it should be emphasized that the human eye is attracted by several key elements, such as: Bright areas High light or color contrasts Areas of sharpness Faces and eyes Colors in monochromatic scenes These elements define the look “journey” across any image, and, regardless of the world perception, any human being is subjected to these composition and perception rules. In the light of this fact, it should be emphasized that the perception of the frame with flirting Marilyn Monroe is performed in accordance with the same compositional rules. This means that if the image was not sharp (unfocused), with poor color contrast, or other elements distracted viewer’s attention from the legs, face and shoulders, there would be no sense to analyze it from the male gaze concept perspective. This means, that the rules of art (composition, framing and harmony) come first, and individual perception steps back to the second position. On the other hand, in accordance with Laura Mulvey’s position, the sexual message of the image is closely associated with the sexual imbalance in visual arts, which is explained by male perception pattern. Therefore, the concept of eroticism in images and videos is closely linked with the male active image perception, while female perception patterns are of passive nature. However, regardless of the perception patterns, all the respondents agreed, that the composition of the image is perfect. (Hobson, 2002) In accordance with the survey data, the male and female perception of the analyzed image does not differ essentially. Therefore, 100 respondents were surveyed (50 males and 50 females). The results among males are as follows (men aged from 18 to 55 were surveyed): Legs ? 74% (almost 80% of this group start from hips, knees and ankles take 15 and 5 percent correspondingly) Arms and shoulders – 6% Face and smile – 8% Breasts – 10% Other elements and parts of the body – 2% Female results are given below (18-45 aged): Legs – 52% Dress – 12% Face and hairdo – 14% Arms and shoulders – 10% Decollete – 4% Footwear – 8% (Hobson, 2002) Therefore, it should be emphasized that females mention almost the same details, however, from a different angle. In general, while men are enjoying the beauty of Marilyn’s body, women are pointing out elements and accessories that emphasize this beauty. Then, all the respondents were asked to compare this image with any other, where an attractive model is posing, and an additional question was asked: what attracts people’s view on those images. Hence, males are still enjoying the beauties of the body without mentioning the background, while females confessed that they are attracted by interiors, landscapes, makeup features, dress design, etc. In the light of this fact, it should be emphasized that the analyzed image is composed exceptionally for attracting attention to the protagonist. In accordance with the key features of the gaze concept, a woman in the frame is relegated to the status of an object, and the narrative aspects of the overall composition are ignored. Additionally, all the plot details are represented from the perspective of male’s perception, and reaction to the events, while a female, literally, is a part of a landscape. Considering the example of the “Seven Year Itch”, it should be emphasized that such a viewpoint is not fully suitable for the Monroe’s role. On the one hand, she seems independent and daring. On the other hand, she is reckless and foolhardy, and her behavior emphasizes the sexual liberation, which men lust after. Male Gaze and the Movie Plot In general, it is hard enough to build hypotheses, basing on a single image. The righteousness of the gaze concept, applied to the image, can be confirmed by analyzing the plot, as well as the characters’ behavior. Therefore, the key protagonists are: the nerdy, middle-aged publisher, who is experiencing mid-life crisis, and a reckless commercial video actress, without a name. Though, it is impossible to find out the initial author’s idea, however, it is clear that Richard Sherman’s image is created not to distract attention from the Girl (nevertheless, he is found charming by most women). In the light of this fact, it should be emphasized that the movie is not intended for the female audience, and the Girl’s behavior. As for the Sherman’s hidden wishes and fantasies, it should be stated that his imaginations are colorful, and daring enough, however, he is not a seducer by nature, which is critical for the gaze concept (Lynch, 2008). He expects that the Girl is a perfect object for adultery, however, his conscience, or something else, prevents him from making a mistake. As for the Girl’s considerations, it is hard to define her opinion concerning the possible adultery. She regards Richard Sherman as another admirer, however, the audience does not have any idea whether she is going to stimulate the implementation of his fantasies, or not, and, it seems that she feels absolutely no difference whether they will commit sexual contact, or not. Therefore, there is a need to emphasize that from the perspective of the male gaze concept the Girl is just an object, since her role is absolutely passive: She does nothing (and does not wish to do anything) to encourage or prevent Sherman’s adultery. Her behavior is not featured with intellectual decisions, and her lifestyle presupposes one day living. A spectator sees her as a typical representative of a high life. Since such a life style requires neither responsibility nor high intellectual development, the authors have created an image of a reckless and indifferent Girl. In fact, according to the gaze concept, some women are enjoyed being looked at, and the Girl is one of these women. Conclusion The key aspect of the male gaze concept is closely associated with the objectification of a female character, and projecting sexual fantasies of the male audience on the female character in a movie. Hence, the “Seven Year Itch” movie, with Marilyn Monroe, starring in it, is the perfect object for studying the male gaze. In accordance with the psychoanalytic theory the scopophilia is regarded as the significant part of the sexuality formation, therefore, the male gaze, applied to the still from the movie, represents the Girl as the part of the Richard Sherman’s fantasy, which becomes a part of the male audience’s fantasy. Hence, female character is not a subject, but an object, and the audience does not regard her as a personality, but a sexually attractive object. Nevertheless, considering the principles of visual art (composition rules in particular), the image is composed precisely for attracting attention to the curves of the Girl’s body. While men pay attention to slim legs, arms and shoulders, women point out the details of the toilette. Reference List Despotopoulou, A. (2004). Fanny's Gaze and the Construction of Feminine Space in Mansfield Park. The Modern Language Review, 99(3), 569 Gagne, A. L. (2001). The Acting Female Gazed with Cruel Intention. West Virginia University Philological Papers, 47, 140 Hobson, J. (2002). Viewing in the Dark: Toward a Black Feminist Approach to Film.Women's Studies Quarterly, 30(1/2), 45 Lynch, R. S. (2008). "The Fabulous Female Form": The Deadly Erotics of the Male Gaze in Mary Lavin's 'The House in Clewe Street.' (Author). Twentieth Century Literature,43(3), 326 Mabry, R. (2001). Fighting Fire with Fire: Reclaiming Phallocentric Conventions in Feminine Costume Dramas.West Virginia University Philological Papers,47, 107 Read More