Voyeurism

Visuals and the Violated: Women in Julie Taymor’s Titus Up until the past few decades, Shakespeare’s Titus Andronicus was never taken seriously by critics or audiences. As a revenge tragedy set in ancient Rome, the story is one of never-ending, over the top violence, which viewers may find hard to sit through without rolling their eyes, or at least becoming entirely desensitized. When Julie Taymor created the film version of this text, Titus, in 1999, she attempted to utilize visual…

People with this paraphilia get sexual arousal from giving or receiving pain. Masochist get pleasure from receiving pain and sadists get pleasure from giving pain. Fourth is Voyeurism. People receive sexual pleasure from fantasizing or viewing others who are naked or having sex. The people they’re viewing have to be unsuspecting. The fifth paraphilia is Exhibitionism. This is when they expose their genitals to an unsuspecting…

Sullivan’s installation exposes viewers to the concept of exhibitionism, voyeurism, and even sexual fetishes like urolagnia (arousal associated with urine) and coprophilia (arousal and pleasure from feces). In the installation, you can see mini model sized robots sitting in a theater with their hands stimulating their exposed genitals…

Hollywood hit its peak in 1946 and was on top of the world. However, a series of events after that, such as, the United States vs Paramount Anti-Trust Act, the suburbanization of America, the loss of foreign revenues, McCarthyism, and television, brought the industry to its knees. The soaring profits of the Golden Era were no longer as grand as they once were. Revenues fell to half their 1946 levels ("Post-war Hollywood," 2014). The anti-trust act broke up the distribution and exhibition…

Stories are a powerful way to get a message across. In the TED Talk, "If a Story Moves You, Act On It" by Sisonke Msimang, she talks about the limitations of storytelling and how storytelling can help make the world a better place. Msimang claims that justice is what makes the world a better place, not stories. The reason why she says that is because stories usually fail to paint the bigger picture. Although stories don’t make the world the better place, the audience can help by being more…

Hitchcock’s Psycho, from ‘Inside Norman Bates’ and ‘The World Inside Its Image’ The benchmark of horror films could easily be Hitchcock’s most revered work ‘Psycho’ (1960). The black and white filmscape does not downplay the crimson colour of blood spiralling down the plughole after Marion’s fatal stabbing, nor the shock of Norman’s mothers sunken eye sockets. It’s 2015 and this is the first time I have properly been introduced to the film however as a testament to its making I had nightmares…

Hitchcock's Vertigo (1958) portrays a man's (John’s) passion for control and the dangers of idealisation and desire. Vertigo; "a sensation of whirling and loss of balance, associated particularly with looking down from a great height”1 is a metaphor of protagonist John “Scotty” Ferguson relationship with Judy Barton/Madeleine Elster. The narrative structure of Vertigo is fundamentally driven by the encounters between John and Madeleine/Judy. The relationship between the two progresses on the…

Misconduct Policy Act is a BC Provincial legislation that requires post-secondary institutions within BC to develop a sexual misconduct policy. These policies must address instances of sexual assault, sexual harassment, stalking, indecent exposure, voyeurism, “revenge porn”, and attempt and threats to commit acts of sexual misconduct (Bill 23, 2016). The policies implemented by post-secondary institutions must “include sexual misconduct prevention and responses to sexual misconduct” (Bill…

for Ali. Fassbinder acknowledges Emmi’s sexuality but chooses to show her desire for love and companionship as the focal point in the film. One notable scene is when Emmi looks at Ali while he is showering. Her gaze does not show any exploitative voyeurism and the words she tells him are addressed to Ali only. The authenticity of the love…

The Piano: Excavating National Cinema’s “Desire” The concept of a national cinema is one that speaks to a discourse of a particular state or nation. However, the definition of what the constructs of this cinema is inherently problematic. Andrew Higson (1989:52) discusses the implications of the terminology asserting that “... the parameters of a national cinema should be drawn at the site of consumption as much as at the site of production of films”. Higson attempts to underline and further…