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Clayton George Wickham - final thesis

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52<br />

killer, but is needed to be seen by another character in order to drive the plot<br />

forward. Eyes of Laura Mars even breaks from Peeping Tom, a film about a<br />

cameraman who is a serial killer, which I will discuss in more detail later, by not<br />

involving a literal camera and compounding the character eye. Fischer and Landy<br />

explore the theme of seeing, eyes and vision that runs throughout the film, but<br />

contributes to the sociocultural analysis of the eye/camera. As Fischer and Landy<br />

note, “Again, what is provocative about this narrative/stylistic device is the way it<br />

can be read to literalize an issue in the ideology of vision.” (66) They go on to<br />

discuss the power of the male gaze, dominating the female gaze and how the film<br />

reinforces this. Although the argument that Fischer and Landy make proves an<br />

important contribution to the discourse on sociopolitics and the gaze within cinema<br />

in addition to bringing serious critical attention to Eyes of Laura Mars, they ignore<br />

fascinating elements of the eye/camera as used in the film, and how it is exploited to<br />

inventive aesthetic ends. The eye/camera limits itself even more by blurring the<br />

edges of the composition to create an almost indecipherable frame. The clear image<br />

is almost contained within an iris that all but eradicates the periphery. While this<br />

asserts a distinct perspective, it proves the eye/camera to be extremely limiting and<br />

frustrating, which reflects the experience of Laura Mars, not knowing whose eyes<br />

she is seeing through as her own vision is usurped and becomes subject to this more<br />

restrictive and mysterious viewpoint. The eye/camera manages to bring with it the<br />

same sense of proximity fear as we watch victims we are increasingly more familiar<br />

with become the object of stalking and killing. But this proximity fear takes a<br />

unique turn when Laura Mars, overcome with the sight of the attacker, sees that the<br />

stalker is coming up the stairs to her studio where she is at that very moment. Laura<br />

is aware of the proximity of the threat to her, and with this knowledge is able to

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