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Feminisms in Kubrick\'s Eyes Wide Shut
- 1. Feminisms in Stanley Kubrick's Eyes Wide Shut Emily G. Brown Old Dominion University, 2009
- 6. Start - Treatment of the Sexes spectacle: to be looked at - ALICE/All Women hold the gaze - Bill/All Men Women all defined through men’s minds - ALICE/All Women search for self streamlined to core - Bill meet structural opposition during search for self - ALICE/All Women possess multiple identities - Bill/All Men highly psychological - ALICE operate within a Freudian matrix - Bill/All Men identities limited to wife, mother, or whore - All Women production, ideas, & activities are seen as more valuable and of higher status- Bill/All Men highly sexual & aggressive - All Women more powerful in creating shared reality - Bill/All Men Men
- 7. End - Treatment of the Sexes Spectacle: to be looked at - BILL hold the gaze - ALICE Women All defined through men’s minds - BILL search for self streamlined to core meet structural opposition during search for self - BILL possess multiple identities - ALICE highly psychological operate within a Freudian matrix - ALICE limited identities - BILL production, ideas, & activities are seen as more valuable and of higher status - ALICE highly sexual & aggressive - BILL more powerful in creating shared reality - ALICE Men
- 8. “Unmasking” of Traditional Roles
- 9. Emotional Honesty v. Denial
Notes de l'éditeur
- Examining the causes and conditions in which men are Alice has achieved two of three so far - one thing left is SEXUAL
- This builds up why men are more prominent! NAKED WOMEN ARE EVERYWHERE _ EMPHASIS ALONE SIGNIFIES SOMETHING! “ We see the idealized female nude dressing up in a boudoir, peeing in a bathroom, slumped unconscious after overdosing on an eight ball in a rich man's house, auscultated in a doctor's office, dead in a morgue. Women are insufficiently offered this opportunity of social, political, and cultural avenues because 吐 o r most of the history of Western culture, and certainly since the 17 th -century philosopher Descartes theorized a split between the mind and the body, women have been associated with nature, the body, and the concrete conditions of life, whereas men have been associated with culture, the mind and intellect, and abstract philosophizing. � And this split is given momentum visually in EWS by the way art/culture is given dominance in some scenes. Introduction. Feminist Theory A Reader, eds Wendy Kolmar and Frances Bartkowski, New York: McGraw Hill, 2005, 6. While the Old World order gives power to culture and high art that is portrayed in such glamorous homes throughout the movie, they have no redeeming affect on the owners. women’s identities have been suppressed by a hegemonic masculine culture to the point of suffocating their humanness
- Brings a literal visual to the idea of male dominance and that women are for men’s desires and are interchangeable objects. Bill is confronted for the first time of his subservience and the powerfulness of being part of a hegemonic male culture.
- Bill’s male-dominate rationality and omniscient attitude gets replaced with a level of female victimization.
- At the beginning we see Alice disrobing for the camera - however only partially revealed. This still illustrates how she is censored or UNKNOWABLE - thus illustrating there are parts to women we have yet let them expose. In the end, we see the Male Order demanding Bill disrobe - yet he gets saved by a woman! This action reinforces Kubrick’s intention of valuing women. Women’s bodies, and, by extension, female attributes, cannot be treated as fully public, something dangerous might happen, secrets be let out, if they were open to view. Yet in presenting something as inaccessible and dangerous, an invitation to know and to possess is extended.
- Women’s public emotional courage is contrasted with men’s retreat to private mental anguish. Alice initiates the plot of the film by her confession of desire for the naval officer. Within this private bedroom admission scene, we see past the public social mask as the dutiful wife in a perfect marriage and witness her transcendence into sexualized being. While the contemporary liberated feminist culture of sexual agency, empowerment, and superior sex are socially acceptable, Bill is astounded. Alice continues, � We made love, made plans about our future, talked about Helena. But at no moment was he out of my mind. � Her statement again disproves love and commitment equal female desire. Her declaration disturbs the cultural roles women are supposed to take on and how these roles formulate desire. It appears Bill has issue with seeing Alice as more than a wife or mother or as a complete human being who negotiates emotional and sexual feelings because 努 o men just don’t think like that. � His inability to allocate Alice female sexual subjectivity cause 兎 a rly shadows of confused anger and jealousy that later will do battle with the masks of his social persona. � His baffled cohesive male psyche that believed he was in possession of her desire is disrupted. Consequently, male competitiveness reigns, and Bill seeks revenge and ways to reassert his authority. Nelson, 282.
- “ unmasking” of traditional roles Glasses on - glasses off This scene has been enumerated meaning that alice is powerful here - validates her sexuality yet she looks sad The scene illustrates Alice’s awareness of the current female condition. She is only looked upon as an object. Thus, the metaphor is continued with Alice’s wearing of her glasses as she gazes into the mirror before making love with Bill. She, for the first time, realizes she simply is valued as a sex object. Her glance into the mirror has a sense of sadness for me.
- These social constructs point to the postmodern condition of fluctuating identities for both sexes - which not is a secure mode of being Women - no authenticity or power of self-definition
- While we may have progressed in theory - incorporating postmodern tenets - In practice women are not allowed to create their own reality or identity for that matter. Recognize subjugating women is to deny her equal opportunity to partake in the new possibilities offered in the postmodern world beyond one dimensional icons of wife, mother or whore
- Directed with such precision that just a shot of Cruise walking down the street the night of the fight is exploding with tension, and every moment we share with Kidman and Cruise together feels deeply personal and voyeuristic. Its no coincidence Kubrick cast a famous married couple in the roles -- it aides that sense of voyeurism as the movie explores how the mind and the heart are connected. As Chodorow suggests,