Zizek's insights tend to filter over to some of mine. I noted to myself that, halfway through the film, it becomes less about the mystery of the murder - the why behind Madeline's death and subsequent events, than more so about a man's obsession. I think he's right to point out that the scene with Judy's profile (in the big green curtain) is probably the most pivotal part of the movie. If you look at the color in that scene, you realize just how much Hitchcock played on color, light, and overall experience in the entire film.
Zizek's take on the masculinity and femininity is also very interesting. The scene where Scottie is buying clothes for Judy definitely captures this most effectively. The movie becomes a pure game of obsession and possession.
I wonder if Zizek would touch on the moral components of the film. His analysis, if we follow its road, seems to lead towards the inevitable conclusion that no good can come of loose desire. Scottie has two attempts to save the woman he wants, yet each time, she dies. Which also reminds me: there is a slight undercurrent of the theme of eternal recurrence weaved throughout the film. Scottie visits the same places, encounters virtually the same circumstances, and ultimately, comes full circle right back to the same point, at which he fails to save Madeline/Judy.
For some reason seeing Zizek swapped into some of the scenes was really humorous as well.
Zizek's insights tend to filter over to some of mine. I noted to myself that, halfway through the film, it becomes less about the mystery of the murder - the why behind Madeline's death and subsequent events, than more so about a man's obsession. I think he's right to point out that the scene with Judy's profile (in the big green curtain) is probably the most pivotal part of the movie. If you look at the color in that scene, you realize just how much Hitchcock played on color, light, and overall experience in the entire film.
ReplyDeleteZizek's take on the masculinity and femininity is also very interesting. The scene where Scottie is buying clothes for Judy definitely captures this most effectively. The movie becomes a pure game of obsession and possession.
I wonder if Zizek would touch on the moral components of the film. His analysis, if we follow its road, seems to lead towards the inevitable conclusion that no good can come of loose desire. Scottie has two attempts to save the woman he wants, yet each time, she dies. Which also reminds me: there is a slight undercurrent of the theme of eternal recurrence weaved throughout the film. Scottie visits the same places, encounters virtually the same circumstances, and ultimately, comes full circle right back to the same point, at which he fails to save Madeline/Judy.
For some reason seeing Zizek swapped into some of the scenes was really humorous as well.