62 LAURA MULVEY YISUAL PLEASURE AND NARRATIVE CINEMA 63 90-called natural conditions of human p ogy(as exer nce said he would welcome his films being projected upside-down so that combined with invisible editing (demanded by realism), all tend that his films do of flms with her. as the ultim e)should be identifiable; but revealing in that it emphasises the fact that for him and Claire Johnston's study of The Revolt of Mamie Stover in Phil Hardy(ed ) Ruoul Walsh burgh,1974),show Hitchcock goes into the investigative side of voyeurism, Sternberg produces apparent than real. striking case how the stre rength of this female protagonist is more taking it to characteristic of traditional narrative film)is broken in favour of the image in Cl e set out a tension betwe port with the spectator. The bear the woman and the screen film and conventions surrounding the diegesis. Each is associated with a look spectator in direct scopophilic contact with the female form displayed for his by close longer the bearer of guilt but a perfect product depth; his ithin the die ining control as light and shade, lace, steam, foliage, net, streamers and so on reduce the visual field. There This tension and the shift from no mediation of the look through the eyes of the main ma in To Hare and Have Not, the fil, man as object of the combined gaze of spectator and all the male ached as they are from audience identification. Despite Stermberg's insistence that his stories significant that they are concerned with falls in love with the main male protagonist and becomes his property, losing her outwar that of the controlling male gaze within the screen otations; her eroticism the spectator can indirectly possess her too.) ion with him, through participation in the absence of the man she loves in the There are other wi mething that the look terms, the fema y circles around but disavows: her lack of a penis, implying a threat of castration and hence unpleasure. ultimately difference, the visually ascertainable absence of the penis, the material evidence on which is end of Dishonoured, Kranau is indifferent to the fate of Magda. In both cases, the erotic based the castration complex essential for the organisation of entrance to the symbolic order sanctified by death, is disp a spectacle for the audience. The male hero and the law of the father. Thus the wo ontrollers of the look. alw at tl signified. The male unconscious has two avenues of escape from this castratio originally preoccupation with the re-enactment of the or estimating the woman, c substitution of fetish object becomes reassuring rather than dangerous valuation, the cult of the the rder and tht heir erotic drives lead them into compromised situations. The power to subject transforming it into something satisfying in itself. The first avenu nother person to the will sadistically or to the gaze voyeuristically is turned onto the woman (evoking castrator is backe d the nder a shallow mask of ideological correctmess-the man is on the right side of the law, the omething happen, forcing a change in another person, a battle of will and strength, victor Hitchcock,s skil cesses and liberal use of whicle spectator is absorbed int ply from the point of view of the male protagonist draw the spectators deeply the other hand, can exist outside linear time as the erotic instinct is focused on the look into his posit These contradictions and ambiguities can be illustrated more simply by using work by Hitchcock voyeurs nema. Jeffries of their films. Hitchcock is the more complex oth mechanisms. Stermberg's work, on the other hand, provides many pure examples of fetishistic scopophilia Lisa had been of little sexual interest to him, more or less a drag, so long as she remained on