Auteur Theory Proposed During The 1950 ' S

1565 WordsMay 7, 20177 Pages
Auteur theory proposed during the 1950’s and 60’s argues that the director is the most important element in the making of a film. Alfred Hitchcock is an example of a well-known and highly successful director, whose audience appeal can be contributed to by his use of recurring themes and techniques throughout his films, including those such as voyeurism, use of the mother figure, lighting techniques and point of view camera shots. Psycho, Vertigo, Marnie, The Birds, and Strangers on a Train are all popular Hitchcock creations that are easily recognisable due to the inclusion of these elements, rendering the films unique and unmistakeable, with engaging characters, storylines and messages. Voyeurism is a very common theme throughout many of…show more content…
The audience is forced to view the events taking place on screen, becoming caught up in Norman’s voyeuristic gaze; so in a way they are also being forced to transgress boundaries and invade Marion’s privacy (Driscoll 19). Vertigo centres on Scottie, a private detective who is asked by a friend to tail his wife Madeleine all over the city in order to investigate the reasoning for her strange behaviour. Right from the opening credits the screen is dominated by a close up of an eye, alluding to a voyeuristic theme. The cinematography used accentuates this theme as for the majority of the film the camera acts as Scottie’s eyes. It is almost as if the viewers are Scottie, and we are seeing exactly what he is. This is evident in one such scene where Madeleine is standing under the San Francisco bridge throwing flower petals into the water. Scottie stands behind a wall watching, and the camera also looks from this angle, enabling the audience to feel as though they as well as Scottie are transgressing boundaries by ‘peeping’ secretively at Madeleine. The way that the two narratives are structured around voyeurism in terms of watching and being watched, also places emphasis on the method of these films’ enunciation. Typically, classical narrative employs specific techniques to mask the “nuts and bolts of a films construction” (Wells 42), meaning that it appears as though the film flows

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