'Male Gaze' Laura Mulvey

In her essay entitled 'Visual Pleasure and Narrative Cinema' Laura Mulvey put forward the concept of 'Male Gaze' to illustrate how the way Hollywood films were made oppressed women and thus promoted patriarchy. She argued that the way Hollywood films were made meant the audience identified with the male protagonist, with the female character simply there to be looked at, and the camera angles and viewpoint of the male characters perpetuated this. Mulvey identified three "looks" in film which serve to sexually objectify women;

• The first is the perspective of the male character on screen and how he perceives the female character.
• The second is the perspective of the spectator as they see the female character on screen. 
• The third is the male audience member's perspective of the male character in the film. This allows the male audience to view the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film.

I think Mulvey's 'Male gaze' concept is evident in the Hollywood films of the 50's, 60's and 70's but has perhaps lessened as the Feminist movement has moved on. However I do think it's still relevant to film as protagonists are still mostly male and all big Hollywood films have beautiful women in them and the camera does tend to do a cheeky head to foot shot of them. Therefore the sexual objectification of women is still apparent in many films, but I think in a different way to the 'Golden Age' Hollywood movies with Marilyn Monroe etc. For example, the beautiful women in Hollywood movies these days tend not to be passive and to have an important role as well as "to be looked at". 

Bluebeard Plot Summary

Bluebeard is a French folktale written by Charles Perrault and first published in 1697. Bluebeard is a rich ugly aristocrat with a blue beard (no way) who has been married several times, however no one knows what has become of his previous wives and he is widely avoided by local girls. He visits a neighbour and wants one of his two daughters to marry him. They both initially refuse, but he eventually persuades the younger sister to marry him and she comes to live with him in his castle. He announces he has to go abroad and gives his new wife a bunch of keys to all the rooms in the castle, which contain his treasures, however he tells her not to use one key which unlocks a small room under the castle. She promises, so naturally she goes straight to this room as soon as he leaves and shock horror finds her husbands former wives hanging from hooks on the walls, she panics, drops the key in blood and then gets the hell out of there. She tells her sister, Anne, what's going on (as she's visiting) and plans to flee but Bluebeard comes home early. He sees the blood and knows his wife has broken her vow. He wants to behead her on the spot but lets her have a half hour to say her prayers with her sister. Mistake. Just as he's about to kill them, their two brothers arrive and kill Bluebeard. As he had no heirs, his new wife inherits his wealth and they all live happily ever after. The character of Bluebeard may have been based on a real aristocrat called Gilles de Retz, who was a self-confessed serial killer of children. Lovely.

On a completely unrelated note, I would like to thank Wikipedia for all their support over the years, how ever unreliable it may sometimes be. 

Vague Settings in Fairy Tales

I think there a few important reasons why vague settings are generally used in fairy tales.

• For one, the setting of "Once upon a time" or "far far away" helps the reader suspend their disbelief, they believe this is a tale which doesn't refer to any specific time or place and therefore may take place somewhere where talking animals, magic and princesses are the norm. Whereas if a fairy tale were to begin "Somewhere in Europe in the 1600's" then it would make it difficult for the reader to detach themselves from reality.
• Another reason why I believe fairy tales have vague settings is that this makes them universal to all cultures, time periods and morals. Fairy tales present us with a common ground of "a forest" or "a castle" and therefore whatever they aim to tell their audience cannot be narrowed down by cultural, historical or geographical boundaries, but can be applied to, and understood by, all. 
• However in the same way, vague settings may be used to highlight that fairy tales are not real and that the belief systems and morals expressed within them aren't supposed to be mimicked by the 'real world' as they are unique to that land "far far away". 

There you have it, why I think vague settings are used in fairy tales. 

Impressions of Frankenstein's Pursuit of the Monster...

Long time no blog.

Right so I have read from pages 160 to around 180, paying particular attention to Frankenstein's pursuit of the monster following it murdering Elizabeth on hers and Frankenstein's wedding night. An element of chase is apparently a common theme in Gothic texts, and typical of the Gothic protagonist's journey. Thus Frankenstein can be seen as a Gothic protagonist in this way, although prior to this in the novel, the reader finds themselves pitying the creature more. Indeed, Shelley appears to have presented the creature with the traits of a Gothic protagonist to a greater extent than Frankenstein, however these rapidly decline when the monster's rage takes over and he vows revenge on Frankenstein for destroying the female companion he promised to create for him.

Right so impressions of Frankenstein's pursuit of the monster/creature;

• Frankenstein becomes as obsessed with pursuing and destroying the monster as he was with creating it to begin with. In fact it's the only thing that he clings to life for, which seems ironic as this is exactly what the monster wants, to keep Frankenstein suffering for as long as possible, as this means he is in control. Whereas if Frankenstein were to give up and die then the monster would be powerless.
• The main thing I noticed about Frankenstein's pursuit of the monster is that he uses a lot of religious language to explain and describe it, referring to "Spirits" guiding him on his journey and keeping him alive so he can complete his purpose. He says the spirits give him "strength to fulfil my pilgrimage". The use of pilgrimage suggests that Frankenstein's pursuit of the monster could be seen as the pursuit of redemption for his blasphemous act of giving life to the creature in the first place. However this seems to contradict Frankenstein's own views and stray from the Gothic theme of corruption of religion. He also says "I pursued my path towards the destruction of the daemon, more as a task enjoyed by heaven, as the mechanical impulse of some power of which I was unconscious, than as the ardent desire of my soul"-again the use of heavily religious language, yet no mention of God directly is strange and could show Frankenstein's arrogance in that he sees himself as having a higher purpose. Whether that be creator or pilgrim whose mission it is to destroy the monster, who can be seen to represent the devil and sin, although he was made as a result of Frankenstein's own sinful actions. So there are definite religious connotations to the way in which Shelley has Frankenstein describe his pursuit of the monster, including his suffering but ongoing determination, helped by so-called "guiding spirits".
• To some extent the monster appears to have nature on his side in the pursuit, allowing him to constantly evade Frankenstein. This would be important, especially in light of the Romantic ideals so influential on Shelley at the time. For example nature seems to pose a threat to Frankenstein and is in a way the main component he has to face when pursuing the monster across the world, e.g. he has to battle the extreme cold of the north pole etc. "Rugged mountains of ice often barred my passage, and I often heard the thunder of the ground sea, which threatened my destruction" whereas the monster hides on a ship bound for the Black Sea for example, and Frankenstein sees this and climbs aboard, yet the creature escapes with Frankenstein admitting "I know not how". 

Impressions Of Walton...

Ok so we were told to blog on our impressions of Robert Walton, who is the sort of primary narrator for the story of Frankenstein, seeing as he recounts the story which he was told by Frankenstein.

Having read his first three letters I have many first impressions about Walton. He seems a very enthusiastic person, who is thirsty for knowledge and exploration. For example in his first letter he tells his sister how the his fortune has made his "day dreams become more fervent and vivid". He is obviously anticipating reaching his destination, as he is evidently on sea voyage. He displays quite a Romantic view to nature, with "the sun is for ever visible; its broad disk just skirting the horizon, and diffusing the perpetual splendour". He is quite elaborate in his descriptions, similar to Romantics writing near the time such as Coleridge. Indeed the 'Rime of the Ancient Mariner' is alluded to, and this Romantic view may have been a reflection of Shelley's husband's style of writing.
The writer's will for knowledge is also evident with "I may there discover the wondrous power which attracts the needle", it appears he is travelling to the North Pole. He has a clear goal and has a youthful excitement about him when he is talking of his adventures, e.g. "I feel my heart glow with an enthusiasm which elevates me to heaven". He also seems to have come from humble beginnings, for instance he shows he "My education was neglected yet I was passionately fond of reading", again showing his wish for information.

However, the writer also seems intimidated by the voyage that lies ahead, "heaven shower down blessings on you, and save me, that I may again testify my gratitude for all your love and kindness". At the end of his first three letters he always bids his sister farewell in case he should never see her again. The fact that such an apparently enthusiastic character even fears the voyage ahead of him shows a sense of foreboding.

In his second letter he seems less happy and talks of time going slowly and of the heavy "frost and snow" he also expresses his loneliness to his sister and he want for a friend. For example he feels he is too sophisticated in his ideas to befriend his fellow sailors and yet too uneducated, describing himself as "more illiterate than many school-boys of fifteen". He also confirms his Romantic outlook, declaring his "love for the marvelous".

His third letter is short and appears rushed, and hastily fills his sister in on his safety and to think of him and hope for the continuation of their good fortune.

So the writers appears intellectual, a Romantic, anxious to discover new things and he wants a mate...
Enter Frankenstein.  

5 Things I Learnt...

Here are the 5 things I learnt over the last 2 weeks.

1. Morality plays follow the fate of an individual in which the main character is supposed to represent all mankind. They're normally about saving your soul and avoiding temptation etc, but are less bible focused and try to engage the audience more.
2. Copernicus said the sun, not earth, was the centre of the universe. 
3. Friars were religious men who traveled. =P
4. Styx, Acheron and Phlegethon are all rivers of the underworld.
5. To put horns on a mans head was a Shakespearean insult which suggested the man's wife was sleeping around.

Can't wait to use all this in the exam!! Oh, wait.....

Faustus' Portrayal, Act 2 Scene 3

Helloooo. So in our last English Lit lesson we read through Act 2 Scene 3 of Doctor Faustus, which included some amazing reading by me as Pride. =P

I'm blogging about the portrayal of Faustus himself in this scene, for example is he supposed to be fearful and angry or happy and playful when the seven deadly sins are putting on a wee show for him. A will also talk about how his character develops further. 

 Firstly the scene starts with Faustus apparently intent on repenting to god and renouncing Mephistopheles. "When I behold the heavens, then I repent and curse thee, wicked Mephistopheles". Faustus seems to now understand the idea of hell being everywhere and he can't handle it. It is strange and ironic that he blames Mephistopheles, when in fact he was brutally honest with Faustus about hell and even seemed to be warning him. So Marlowe portrays Faustus as a very changeable character, one who is stubborn and fickle. It is strange for the audience to see such a change in him, as in his previous scene he willingly finalised his agreement to sell his soul to the devil, yet now the first thing he declares is a wish to repent. Faustus then stated "I will renounce this magic and repent", again this is completely contradictory as it was the wish to gain knowledge of magic that drove Faustus in the first place. 

By declaring this, Faustus seems to summon the Good and Bad Angel back onto stage and, contrary to what I said could be possible in a previous blog entry, he appears to be able to see and hear them. He even interacts with them. The Good Angel assures Faustus that he still can repent and "god will pity" him. Whereas  the Evil Angel says "thou art a spirit, god cannot pity thee". This is interesting as maybe the reason Faustus can hear the angels now is because he is a spirit and is therefore beyond repenting. Faustus himself says "Who buzzeth in mine ears I am a spirit?". Although Faustus expresses wish to repent, he can't help but take the advice of the Evil Angel. "My heart's so hardened I cannot repent", this could be to symbollise that hell is controlling his decisions now, forcibly stopping him from repenting. So he goes from wanting to repent to declaring he cannot. Indeed another factor that seems to pull Faustus back from this, is his curiosity and thirst for knowledge.

He then argues with Mephistopheles as he isn't answering his questions sufficiently, he is merely repeating what Faustus already knows. As a result, Faustus then wishes to repent again, almost just to spite Mephistopheles. This is despite having resolutely said he never would earlier on in the scene. He says "Christ, my saviour, seek to save distressed Faustus' soul". However it is not god that comes to Faustus, but Lucifer, Beelzebub and Mephistopheles. This could perhaps show that he is beyond help as it is Lucifer who answers him now. Faustus is scared and threatened and this causes him to vow allegiance to Lucifer and the agreement with Mephistopheles once more. "Faustus vows never to look to heaven, Never to name god or to pray to him" etc. So within this one scene, we really see Faustus' ever changing allegiance and how spineless he really is. He is almost like a child, having mood swings which dictate his behaviour.

Finally towards the latter half of the scene, when Faustus has grovelled for forgiveness to Lucifer, he is presented with the seven deadly sins, each of which talks to him. However this appears to be a mere distraction, as when he sold his soul in Act 2 Scene 1. For example after each sin has finished introducing themselves and their characteristics, Faustus simply says "What art thou, the second" etc and just moves onto the next. So this seems a pointless exercise as Faustus' thirst for knowledge isn't being catered to, which surely would be more appropriate in order to really distract him. It is unclear, however whether Faustus is happy or angry throughout this parade. He says to Envy, "Away envious rascal!", which could be playful or serious. The nature of his reaction could be changed according to the production on stage, and therefore alter the mood of the scene. For example is Faustus reluctantly obeying Lucifer out of fear and does he really look down upon these creatures of hell? Or is he being playful with the sins as it were, and this would further show how he is so fickle in his beliefs? The comic feeling of this parade of sins could be to make light of the situation of to distract the audience and indeed Faustus himself, from the situation he has landed himself in. I personally believe Faustus is supposed to be being playful with the sins, and almost mocking them, e.g. "I'll see thee hanged." I think this is more appropriate as it emphasises the cowardly nature of his character and how he is one minute determined to repent to save his soul and the next he is none the wiser and declaring "O, might I see hell and return again, how happy were I then!". Marlowe may have been making another message about religion here, about how people's beliefs are so changeable according to the circumstance and what they stand to gain.

Cool, so in this scene Faustus is portrayed as completely fickle and pathetic really, and he is distracted easily by Lucifer, perhaps showing again that despite what he does it is hell who controls him now, even if he wants to repent he won't be able to as hell will stop him. I also think he is supposed to be reacting merrily to the seven deadly sins, as this would highlight his changeability even more, and I doubt he would be rude and aggressive to something Lucifer has sent, as he is all-powerful in terms of what happens to Faustus.

Fertig.