Notes about Michael Powell's "Peeping Tom"
To the point, My first Introduction to Film Theory class started with the screening of the movie "Peeping Tom".
"Do you know what the most frightening thing in the world is?"
Peeping Tom (1960)
Directed by: Michael Powell
Written by: Leo Marks
Runtime: 101 min. / USA:86 min. (cut version)
Country: UK
Language: English
Michael Powell’s “Peeping Tom”, starts with a peculiar movie-inside-the movie- sequence. Someone is filming a prostitute while following her with a hidden 16 mm camera towards her modest hotel/motel room. She undresses indifferently, without looking at her client (the person that is filming her) but after looking up she notices that something is wrong. Her facial expression changes from an indifferent to a terrifying one . The camera gets too near the prostitute and the musical score speeds up, culminating the sequence with her piercing scream. Immediately afterwards, the sequence cuts with a fade in, to a long shot of a man sitting in the dark, watching the projection of those same actions. This opening sequence is an excellent example of Laura Mulvey’s comment stating that “Film fascination is reinforced by preexisting patterns of fascination of people or society”. In this case, we are introduced to the world of a scopophilic character who is sexually stimulated through sight and fascinated with the human form.
Mark Lewis (interpreted by Carl Bohem), the main character, is a shy and lonely aspiring filmmaker that works as a focus puller and as a photographer for Pinup girls.On the side, he is filming a documentary showing how he murders beautiful women. Curiously, all of the women he kills are woman that are contemplated or observed in different ways (a prostitute, an actress, a pinup girl). Since he grew up as an observed child, used for his dad's experiments on fear behavior, he became traumatized. This made him a “Peeping Tom” , or someone that sees people as objects. He satiates his desires by observing them thru the camera lens.Their beauty incites him to murder them, and destroy the mental picture he has. It’s a pleasure for him to destroy beauty and then watch it on screen. As a spectator, he releases repressed sexual desires.
Even though he is committing this murders, there is a streak of hope when he meets his neighbor, Helen (Anna Massey) an innocent virginal girl. She could symbolize Mark’s redemption. Her lack of astounding looks are the reason why he doesn’t want to film her. Since she is not so feminine and sensual, he doesn’t feel threaten. She does not incite action and is not a bearer of sexual objectification. Mark does not see Helen with sentimental regret and is almost willing to start a relationship with because he trusts her (he lets her carry the camera).
Perversion, murders,female sensuality, sexuality and an aspiring film director are signs of a cinema with “ideological effect”. It is a movie about observing. According to Lacan, “Cinema became a perfect medium to explore the relationship between images, identity and desire, especially in relation to gender ...” (Lacan 1977). Also, the whole idea of being a filmmaker, is about controlling people, telling actors what to do, objectifying people. Another element that is introduced is the concept of representation (which makes possible fetishism: primitive religion of sensuous desire). Hidden or subtle signs of sensuality can be exemplified by liquid and water references. There are various cuts that end and start with pouring liquids. Richness in color (especially red) are also signs of passion, and sensuality, morbidness.
I think it was absolutley faboulous, campy, theatrical, dramatic, colorfull, semiotic oriented... and does explain that Photography resembles the dead and Cinema shows the animated dead.
For references on this topic and to see "Peeping Tom" in a theoretical way check the following references (if you have time!)
Visual Pleasure and Narrative Cinema by Laura Mulvey
Why Theory? Gill Branston
Film Theory and the revolt against master narratives. Bill Nichols
You should really take advantage of these notes because this is what I am studying in my Master in Arts: Media Studies @ The New school. So for those who don't have the time, or money to study you can check this out!
The teacher for this class is Abe Geil.
"Do you know what the most frightening thing in the world is?"
Peeping Tom (1960)
Directed by: Michael Powell
Written by: Leo Marks
Runtime: 101 min. / USA:86 min. (cut version)
Country: UK
Language: English
Michael Powell’s “Peeping Tom”, starts with a peculiar movie-inside-the movie- sequence. Someone is filming a prostitute while following her with a hidden 16 mm camera towards her modest hotel/motel room. She undresses indifferently, without looking at her client (the person that is filming her) but after looking up she notices that something is wrong. Her facial expression changes from an indifferent to a terrifying one . The camera gets too near the prostitute and the musical score speeds up, culminating the sequence with her piercing scream. Immediately afterwards, the sequence cuts with a fade in, to a long shot of a man sitting in the dark, watching the projection of those same actions. This opening sequence is an excellent example of Laura Mulvey’s comment stating that “Film fascination is reinforced by preexisting patterns of fascination of people or society”. In this case, we are introduced to the world of a scopophilic character who is sexually stimulated through sight and fascinated with the human form.
Mark Lewis (interpreted by Carl Bohem), the main character, is a shy and lonely aspiring filmmaker that works as a focus puller and as a photographer for Pinup girls.On the side, he is filming a documentary showing how he murders beautiful women. Curiously, all of the women he kills are woman that are contemplated or observed in different ways (a prostitute, an actress, a pinup girl). Since he grew up as an observed child, used for his dad's experiments on fear behavior, he became traumatized. This made him a “Peeping Tom” , or someone that sees people as objects. He satiates his desires by observing them thru the camera lens.Their beauty incites him to murder them, and destroy the mental picture he has. It’s a pleasure for him to destroy beauty and then watch it on screen. As a spectator, he releases repressed sexual desires.
Even though he is committing this murders, there is a streak of hope when he meets his neighbor, Helen (Anna Massey) an innocent virginal girl. She could symbolize Mark’s redemption. Her lack of astounding looks are the reason why he doesn’t want to film her. Since she is not so feminine and sensual, he doesn’t feel threaten. She does not incite action and is not a bearer of sexual objectification. Mark does not see Helen with sentimental regret and is almost willing to start a relationship with because he trusts her (he lets her carry the camera).
Perversion, murders,female sensuality, sexuality and an aspiring film director are signs of a cinema with “ideological effect”. It is a movie about observing. According to Lacan, “Cinema became a perfect medium to explore the relationship between images, identity and desire, especially in relation to gender ...” (Lacan 1977). Also, the whole idea of being a filmmaker, is about controlling people, telling actors what to do, objectifying people. Another element that is introduced is the concept of representation (which makes possible fetishism: primitive religion of sensuous desire). Hidden or subtle signs of sensuality can be exemplified by liquid and water references. There are various cuts that end and start with pouring liquids. Richness in color (especially red) are also signs of passion, and sensuality, morbidness.
I think it was absolutley faboulous, campy, theatrical, dramatic, colorfull, semiotic oriented... and does explain that Photography resembles the dead and Cinema shows the animated dead.
For references on this topic and to see "Peeping Tom" in a theoretical way check the following references (if you have time!)
Visual Pleasure and Narrative Cinema by Laura Mulvey
Why Theory? Gill Branston
Film Theory and the revolt against master narratives. Bill Nichols
You should really take advantage of these notes because this is what I am studying in my Master in Arts: Media Studies @ The New school. So for those who don't have the time, or money to study you can check this out!
The teacher for this class is Abe Geil.
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