Essay on Voyeurism: A Freudian Concept Analysed in a Movie

Voyeurism in its generic form, has long been considered unethical due to its invasive nature. Most people would agree that spying on others is an invasion of privacy, and would look down on those peering into other’s lives. This viewpoint is expressed in the opening scene of the film by Jefferies’ insurance worker, Stella. She makes her entrance stating that ‘‘The New York state sentence for a peeping tom is six months in the workhouse...’. She goes on to say that his behaviour has her smelling ‘trouble right here in [his] apartment’ and mimics his hypothetical court appearance. Lisa Freemont, Jefferies’ girlfriend, also comments on the issue, first when Jefferies’ tells her of his suspicions of Lars Thorwald; labelling his ‘wild opinions’ as ‘diseased’ while defensively giving alternate reasons for all of Jefferies’ questions about Thorwald. Including these women, no character in the film, initially, encourages Jefferies’ voyeurism. Instead they explicitly downplay and dismiss it. Both Stella and

Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology have progressed the faithfulness of visual representation is increasingly throw into question, which in turn has led to societal anxiety. A few years earlier, video footage of an event rarely had its validity questions, whereas now it is easy

Documentarians often want to get as close to their subject matter as possible. Some documentarians have an insider perspective which ignites a spark to create a piece that illuminates a specific topic or area of study. There are also documentarians that have no affiliation with said subject matter, but want to explore the topic in question. Finally, there are documentarians that have a foot in both worlds. Insider/outsider is a theory in which a documentarian can be close to a subject, but also possess characteristics or traits that make them distant from the topic in question (Coles, 1998). Such is the case with the directors of both Stranger with a Camera and The House I Live In. Due to their own location, both Eugene Jarecki and Elizabeth Barret exhibit characteristics that make them fall into the insider/outsider roles as directors. Robert Coles defines location by stating, “We notice what we notice because of who we are” (Coles, 1998, p. 7). Included in this is, a person’s education, race, class, and gender. Both directors realize they are outsiders and utilize a lens into a world in which they are not otherwise a part of. Jarecki’s lens comes in the form of Nanny Jeter, his family’s nanny from when he was a child. Barret’s lens for her documentary is the community that she shared with Ison. The two directors enter into a world that they are not a part of because of their location, but forge a connection to the subject matter through means of a lens.

These differences aren’t biological as some researchers lead us to believe, claiming that men are more sexually stimulated by images, making it natural for women to be gazed at. Bordo argues that our culture determines what if acceptable for “women learn to anticipate, even play to the sexualizing gaze…in the process we learn how sexy being gazed at can feel-perhaps precisely because it walks the fine edge of shame” (135). Yet, with the use of erotic male images and her clearly sexually reaction to them, Bordo pushes readers to question why there are differences in how men and women are viewed and view each other. Who decides what is acceptable?

Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship. Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. In Rear Window, the story is so distinctively executed that it allows us to relate to our own curiosities, question our identities, and ponder our closest relationships. What is happening on the screen is merely a projection of our own anxieties, our own existence, and our self-ambiguity as portrayed by the characters in this wonderful film.

Jeffries realises Lisa is more than just beautiful when she expresses her insightful theories about Laars and his wife, things Jeffries would never have thought of, himself. Lisa contributes "Women don't keep their jewellery in a purse, all tangled... A woman going anywhere but the hospital would always take makeup, perfume and jewellery." Detective Doyle dismisses Lisa's ideas as "feminine intuition" and therefore a waste of his time, however Jeffies sticks by his girlfriend. Lisa comes over to Jeffries apartment unannounced with the intention of "staying the night [t]here, uninvited." This was much frowned upon in conservative, fifties society, especially for someone of Lisa's status, however she doesn't seem to much care, she has her own mind. Jeffries admires Lisa's bravery as she drops off the note at Laars' apartment, something he would have done if he was able. She gets back, glowing with excitement and the look on Jeffries face could only be described as adoration. The power in the relationship shifts to Lisa when Lisa expresses her intelligence and

In Alfred Hitchcock's 1954 classic thriller Rear Window, Jimmy Stewart stars as L.B. Jeffries, a world traveling magazine photographer accustomed to living a fast pace active lifestyle. When Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his apartment for two months. Bored with his uneventful life he becomes completely obsessed with the lives of his neighbors spending the majority of his waking hours watching them from his window. To obtain a better view he begins using a telescopic lens from one of his cameras. By watching his neighbors through the camera he assumes the role of both a spectator and a voyeur. This contributes to

Freud used the term "scopophilia" to describe the initial stages of the tendency to look. According to Freud, scopophilia can be active and passive.

Human sexuality is a common phrase for all, and anything, pertaining to the feelings and behaviors of sex for the human race. Sexuality has been a topic that has been discussed and studied for as far back as 1000 years B.C. and is still being studied today. As the discussion of sexuality has progressed through history, theories have been created based on research and experiments that scholars have implemented, based on their own perceptions of human behavior. Out of the many theories that pose to explain sexual behavior, Sexuality Now explained ten that are seemed to be the most overlapped, and built off of theories. Of these theories, two that were discussed in the text were the behavioral and sociological theory. These two theories cover some of the basic ideas of what could possibly influence a person’s sexuality.

Key words in this text are fetishism and fetish. Freud uses the word fetishism in the context of a disorder commonly characterized

This is a topic of discussion for all psychologists. Being watched or observed changes you and can also change your behaviour without you even knowing. This fact has been demonstrated in many different experiments involving children, adults, and even criminals. In an article published in 2014 by Dr. Jason G. Goldman, a researcher, writer, and cognitive scientist, stated “we’re so sensitive to being watched that even just a drawing or photograph of a pair of eyes influences our decisions” (Goldman). I believe this statement is proven through many experiments. Especially, one held on halloween night of 1976. Psychologists placed themselves in eighteen different homes to observe 360 unknowing participants. As children knocked on the door and

The study of sexual behaviors in humans is a critical branch in science that has been overlooked for decades. Notably, this subject has always attracted negative opinions and criticism. By just mentioning the word sex around people, one is guaranteed to receive bizarre looks. Also, populations are still shying off from discussing critical topics such as women’s orgasm, erectile dysfunction, masturbation, penis, clitoris, as well as ejaculation. It is an indication that the community is yet to accept that human sexuality is an inevitable aspect of life that should be discussed comprehensively. In this context, an analysis of Mary Roach’s book, “Bonk,” will be provided to express the diverse range of attitudes and weird opinions that encompass

The film I chose to watch is the original Psycho, filmed in 1960 and directed by Alfred Hitchcock. The stars of the cast included Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, and Martin Balsam. (IMDB.com, 2006) The story begins about a young woman named Marion Crane from Arizona who is fed up with her life and longs to marry her boyfriend, Sam. Unfortunately, the couple has little money and cannot marry. One Friday afternoon, she is asked to deposit forty-thousand dollars for her boss. Seeing the money as an opportunity to start a new life with her lover, she takes off for California with the money. She ends up becoming tired from the drive and pulls into the Bates Motel. Unfortunately for Marion, the owner of the motel, Norman

Alfred Hitchcock’s 1954 film, Rear Window, explores many dimensions in cinematography. The phenomenal film is well known for proclaiming its voyeurism issues that goes on in today’s society. Even though voyeurism is an act that should not be done, this film portrays it in an affirmative way. Rear Window introduces primary structural components in the first act which sets the mood for the audience to interact with J.B. Jefferies in a way as it is the audiences duty to help him solve the mystery on whether Thorwald murdered his wife or not.

What is a Voyeur? It’s a person who gets pleasure from secretly watching others in private moments. In The Living Room, the narrator’s voyeurism of her neighbors is wrong and she continually dismisses her intrusive violations of privacy of the couple. She expresses guilt that is due to her lack of non-consent from the couple and clearly violates their privacy. The person/s being viewed are intruded upon and are most often damaged by being watched. Throughout mankind we have been curious of the unknown and get pleasure from watching others and we have acknowledged this behavior and the acceptance of it as normal. The heavy appeal of social media and reality shows are now providing us with the ability to compare ourselves with other people in private or intimate situations that either we wish we could be in or happy we are not. This bad behavior is unacceptable, but where do the lines of privacy begin or end.