Pictorial erotic phantasies


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Fetishistic scopophilia, on the other hand, can exist outside linear time as the erotic instinct is focussed on the look alone. This mirror-moment predates language for the child. The audience follows the growth of his erotic obsession and subsequent despair precisely from his point of view. The camera becomes the mechanism for producing an illusion of Renaissance space, flowing movements compatible with the human eye, an ideology of representation that revolves around the perception of the subject; the camera's look is disavowed in order to create a convincing world in which the spectator's surrogate can perform with verisimilitude. Moreover, in these cases the hero portrays the contradictions and tensions experienced by the spectator. Scale, space, stories are all anthropomorphic. As Budd Boetticher has put it:
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Scale, space, stories are all anthropomorphic. Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret. Lisa's exhibitionism has already been established by her obsessive interest in dress and style, in being a passive image of visual perfection; Jeffries voyeurism and activity have also been established through his work as a photo-journalist, a maker of stories and captor of images. We are still separated by a great gap from important issues for the female unconscious which are scarcely relevant to phallocentric theory: In Vertigo , erotic involvement with the look is disorientating:
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Pictorial erotic phantasies
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Pictorial erotic phantasies



Description: The camera becomes the mechanism for producing an illusion of Renaissance space, flowing movements compatible with the human eye, an ideology of representation that revolves around the perception of the subject; the camera's look is disavowed in order to create a convincing world in which the spectator's surrogate can perform with verisimilitude. Then, in the second part of the film, he re-enacts his obsessive involvement with the image he, loved to watch secretly. Recent writing in Screen about psychoanalysis and the cinema has not sufficiently brought out the importance of the representation of the female form in a symbolic order in which, in the last resort, it speaks castration and nothing else. To analyse this phenomenon seriously here would take me too far afield.

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