The Voyeuristic Gaze in Hitchcock’s Work
An Analysis
Throughout modern history, people have become increasingly interested in the lives of others, constantly wanting to be involved in the shocking and personal details. Today, men and women fulfill their desire to watch others through programs like reality television, and shows that utilize hidden or candid cameras. When Alfred Hitchcock began his filmmaking career in the 1920s, he took an interest in the way his audience perceived different themes that were often considered inappropriate for his time. He became known for his iconic film style featuring beautiful leading ladies, troubled protagonists, and often-controversial topics. Hitchcock took a risk by introducing his audiences to voyeurism, but his gamble paid off, as his films featuring voyeurism were highly successful. It may be argued that Alfred Hitchcock became a revolutionary filmmaker by his capacity to engage audiences through the use of sexual voyeurism, scopophilic voyeurism, and his ability to make the audience voyeurs themselves. These ideas are portrayed throughout several of his works, specifically, Psycho, Vertigo, and Rear Window.
For this analysis, I will be comparing three different ways in which Alfred Hitchcock uses voyeurism in his films. First is what I consider sexual voyeurism. This is the most typical form of voyeurism, involving a person “who seeks sexual stimulation by visual means” (Webster). Seth M. Blazer’s “Rear Window Ethics: Domestic Privacy versus Public Responsibility in the Evolution of Voyeurism,” asks the reader to think of the way we perceive voyeurism. He says:
I am sure certain images dance through your mind: a shadowy figure spying through a keyhole, a pervert with mirrors fastened to his shoes, that jerk in the locker room with a camera phone. But have you ever caught yourself watching someone? If so, does that mean you are a voyeur? (Blazer 379)
Blazer then poses an idea to the reader: “consider what effect the removal of one word from that definition makes. If we cross out the word ‘sexual,’ then it reads: one who seeks stimulation by visual means. This new description seems appropriate for most of America,” (Blazer 379). Blazer continues by introducing a term worth recognizing in relation to voyeurism- scopophilia:
Scopophilia essentially means to derive pleasure from looking. Freud associated scopophilia with objectifying others with a controlling and curious gaze. In an extreme case, this gaze can become fixated into a perversion, producing voyeurs who can only gain sexual satisfaction from watching an objectified other (Blazer 380).
Voyeurism is an advanced case of scopophilia, meaning that most voyeurs start as scopophiles. The term scopophilia doesn’t carry the heavy, negative connotation that voyeurism does, as it means in a general sense, to take pleasure in looking. The scopophile’s gaze isn’t necessarily directed in a sexual or malicious manner. The final style of voyeurism to be discussed is specific to Alfred Hitchcock. In addition to portraying voyeurism on the screen, Hitchcock made stylistic choices that turned the audience into voyeurs. This was accomplished through specific film techniques and storytelling, which allowed the viewers to place his or herself in the position of the voyeur in each of his films.
Although it is portrayed differently in each of Alfred Hitchcock’s films, sexual voyeurism plays a part in much of his work. Despite the taboo nature of sexuality at the time of the films’ productions, Hitchcock often used this theme to add intrigue to his characters.
When Norman Bates is first introduced in Psycho (1960), he seems to be a well-meaning but shy young man lacking the ability to leave his cruel mother. The audience sympathizes with Norman’s sensitivity and social awkwardness until he spies on Marion through a peephole he made. Norman’s voyeurism introduces the audience to idea that Norman is not all that he seems. When choosing what room to put Marion, he thinks for a moment, and then places her in the room next to the office, knowing that will allow him to watch her through the hole in the wall. Unlike some voyeurs who watch from afar and wait to see something enticing, Norman specifically arranges Marion to be in a position where he can watch her undress. Michael Walker’s “Film Culture in Transition: Hitchcock’s Motifs,” comments on Norman Bates and his voyeurism in this scene:
In Psycho, Norman’s voyeurism is more conventional [than scopophilic voyeurism]: he spies on Marion undressing. Again, however, the outcome is a displacement from (potential) sex to murder, as Marion is stabbed to death in the shower in a manner, which suggests, inter alia, a hideous parody of rape (Walker 171).
For a first time viewer, the discovery that Norman is a pervert may be unexpected and shocking. Hitchcock’s cinematography allows the audience to feel suddenly disgusted when they discover that Norman is a pervert. As the reveal of Norman’s multiple personalities doesn’t come until the end of the film, the audience assumes that the worst of Norman’s crimes is that he watches women undress and hides his mother’s murders. Once the audience discovers how twisted Norman truly is, they understand the implications of his voyeuristic habit, “Norman’s voyeurism becomes retrospectively complex through the additional features we learn about him: his impotence, his psychosis, the sense that, even as he spies on Marion, his ‘mother’ spies with him and is aroused in a very different sense” (Walker 171). Alfred Hitchcock displays Norman’s voyeurism in the most traditional definition: a person who gets sexual gratification or pleasure from observing unsuspecting individuals who are partly undressed, naked or engaging in sexual acts.
In Vertigo (1958), Scottie’s actions fall under the definition of scopophilic voyeurism, but quickly transition into sexual voyeurism. His motives start innocent, but the obsession he develops with ‘Madeleine’ moves toward the questionable. It would seem that Scottie’s voyeurism turns into an obsession after he saves ‘Madeleine’ from drowning in San Francisco Bay. Rather than take her to the hospital for the treatment of her potential hypothermia, as one might typically do, Scottie brings ‘Madeleine’ back to his apartment. Not only does he put her in his bed, but he also completely undresses her and dries her hair. After ‘Madeleine’ wakes up in his bed and wears his bathrobe through the apartment, Scottie’s fascination grows. His behavior seems like that of a stalker. Despite Scottie being the film’s protagonist, his voyeurism and infatuation seems questionable. As a general rule, audiences want to agree with, and support the motivation of the protagonist. As such, they rationalize the main character’s actions, but still are left with a sense of uneasiness about the scene. Walker says of this situation:
In Vertigo, it is evident that Scottie’s fascination with ‘Madeleine’ reflects a disturbed psyche; that of a stalker, to use a modern term. Hitchcock certainly uses the point-of-view editing in these films to involve us with the hero, but it is to a greater or lesser extent a troubled involvement, (Walker 171).
Vertigo is subtler in its display of voyeurism, although Scottie’s obsession with ‘Madeleine’ is striking, as his voyeurism escalates rapidly throughout the movie. As Scottie has a personal relationship with ‘Madeleine,’ his strange voyeuristic behavior seems more off-putting and dangerous, eventually leading to Judy’s death.
In Rear Window (1954), Jeff’s intentions seem innocent enough, as he watches his neighbors for entertainment; however, there is a sense that his enduring motivation to watch is questionable. Some of the other neighbors in Jeff’s courtyard provide more sexually voyeuristic subjects and scenes. Young, attractive, and sexually stimulating, Miss Torso presents an interesting example of sexual voyeurism. As she dances about her apartment scantily clad, Jeff watches intently, although much of his viewing of Miss Torso seems to be primarily out of curiosity and humor. At the start of the movie, Miss Torso undresses and puts on a new top. During this scene Jeff is asleep, but it could be assumed that Miss Torso often undresses in front of the window, and Jeff may watch his attractive neighbor from afar. While watching her dance about at the beginning of the movie, Stella walks into Jeff’s apartment and says, “In the old days, they used to poke your eyes out with a red-hot poker (for being a Peeping Tom). Are any of those bikini bombshells you’re always watching worth a red-hot poker?” Another set of characters that Jeff sees are the newlyweds. Although the couple’s sexual activity is hidden behind the curtains, Jeff seems to be well aware of their deeds. At one point Lisa comments that something nefarious may be happening behind the closed curtains of the newlywed couple’s apartment, to which Jeff chuckles, blushes, and replies “No comment.” This shows that although he isn’t watching intently, he is acutely aware of his neighbors’ actions, and finds humor in the scene. As for another instance, early in the movie when Jeff is on the phone with his boss, he watches two young ladies on the roof remove their tops in order to tan. The implication of the cinematography is that the ladies are topless on the roof; however, it is impossible to know for sure. Either way, the women are exposed in minimal clothing as a helicopter hovers above them, with the passengers intently watching the women sunbathe. Not only does the audience see Jeff watch the young women, but they also see other nameless characters’ voyeurism at play.
Alfred Hitchcock’s cinematography displays varying degrees of sexual voyeurism. Psycho displays criminally sexual voyeurism. Unlike Vertigo and Rear Window, which show an ever-increasing development of voyeuristic habits, Psycho makes the voyeurism a surprise to the audience. In Vertigo, Scottie’s voyeurismseems to focus primarily on the increasingly unhealthy relationship between ‘Madeleine’ and him. His motives are driven by sexual desire. The voyeurism portrayed in Rear Window is given a comic tone that makes Jeff’s sexual voyeurism seem permissible.
As was mentioned prior, scopophilia refers to taking pleasure in watching. This could be perceived as innocent curiosity, or the enjoyment in watching people. Each of these movies feature forms of scopophilic voyeurism- some more substantial than others. It is important to remember that most sexual voyeurs start as scopophiles. Psycho’s scopophilic voyeurism is focused on the inquisitive and curious nature of Norman. In Vertigo, when ‘Madeleine’ gives Scottie the slip at the hotel, he realizes there is more to her than meets the eye. He is no longer following her purely for the obligation to his friend, and follows ‘Madeleine’ to satisfy his own curiosity and feel pleasure in watching her peculiar behavior. In Rear Window, Jeff’s voyeurism begins as scopophilia, to pass the time.
In Psycho, Norman’s scopophilic voyeurism seems less obvious than his sexual voyeurism. At the beginning of the movie, Norman seems to be an inquisitive, and socially awkward young man. Norman is genuinely curious about everyone around him, constantly wondering what people think about him and about his mother. After Marion is murdered, the audience may notice the focused way that Norman watches those around him. He watches intently, always keeping tabs on everyone who may pose a threat to him and his mother. In Psycho, the first timewhen the audience may notice Norman’s scopophilic voyeurism is when Norman and Marion are sitting in the office parlor eating dinner. Norman says that he isn’t hungry, and prompts Marion to eat. While she eats, Norman watches her closely, noting, “You eat like a bird.” Norman seems to take pleasure in watching Marion, even in an innocent manner. Later, the detective comes to investigate Marion’s whereabouts at the hotel. During this time, both Norman and the detective are watching one another very carefully, although neither seems to be taking pleasure in the encounter. Once the detective pulls away in his car, after failing to get the answers he wants, Norman intently watches as the detective drives away. As the headlights of his car pass over Norman’s face, Norman begins to smile, taking great pleasure in watching the detective fail to discover the truth, and leave the premises. Although the scene is subtle, it highlights Norman’s tendency to take pleasure in his scopophilic voyeurism.
The voyeurism demonstrated in Vertigo manifests itself differently than Rear Window and Psycho. In this case, the protagonist, Scottie is hired to follow his friend Gavin Elster’s wife. Being a former detective, Scottie has professional experience following suspects and drawing conclusions based upon his observations. Despite his innocent start to watching and following ‘Madeleine,’ he becomes obsessed with her, “Scottie spends the first half of Vertigo mesmerized by ‘Madeleine,’ but unable to fathom what is going on and who she really is,” (Walker 178). Because of his growing obsession, Scottie seems to forget his former police training while watching her. “Reversal and Recognition in Alfred Hitchcock’s Vertigo,” by Irmak Ertuna-Howison, describes this situation:
When Scottie assumes the role of a private investigator upon his old friend’s urges, he arrogantly assumes an omniscient position. The long takes of Scottie trailing his friend’s wife Madeleine (Judy in disguise), seemingly without her knowledge, ironically underline his ultimate blindness to the true nature of her identity (Howison 50).
For this section, the term exhibitionism becomes important. In “Hitchcock’s Motifs,” Michael Walker describes exhibitionism to be a person displaying oneself to another. In relation to voyeurism and exhibitionism he says, “Voyeurism has become identified with masculinity, and exhibitionism with femininity. Hitchcock’s films conform quite strongly to the first half of this statement, but more loosely to the second,” (Walker 164). For the case of Vertigo, ‘Madeleine’ becomes an exhibitionist for Scottie, the voyeur’s benefit. Together, the voyeur and exhibitionist have a symbiotic relationship. During the movie, Madeleine “knew that Scottie was following and observing her; she ensured that he always kept up with her and had a good view,” (Walker 171). After her death, Scottie loses his exhibitionist– ‘Madeleine.’ When he had ‘Madeleine’ in his life, his voyeurism had a specific purpose and target. Without her, his voyeuristic gaze is unfocused, leading him to stare longingly at any women who mildly resemble his beloved ‘Madeleine.’ Once Scottie finds Judy, he sets his gaze upon her, but is unwilling to fully commit to the image until Judy looks like ‘Madeleine.’ Similarly to Psycho, Scottie influences the subject of his voyeurism. Norman places Marion in a convenient room, and Scottie alters Judy’s appearance in order to make her worthy of his voyeuristic gaze. Judy attempts to become an exhibitionist once again by allowing Scottie to change her to look like ‘Madeleine,’ but has lost the power that she formerly had over the situation.
Rear Window displays the most classic and critical case of voyeurism in Alfred Hitchcock’s filmography. In “Rear Window Ethics” Blazer explains, “The lasting appeal of Hitchcock’s Rear Window is a testament to our natural curiosity into the lives of those around us. It not only explores the taboo of voyeurism, but it also questions a neighborly responsibility” (Blazer 389). Voyeurism is the focus of the film, and is once again portrayed through the point of view of the protagonist.
Both Lisa and Stella comment on the way Jeff is becoming a ‘Peeping Tom.’ During the movie, Jeff asks Lisa, “I wonder if it’s ethical to watch a man with binoculars and a long-focus lens? Do you suppose it’s ethical even if you prove that he didn’t commit a crime?” Lisa responds, “I’m not much on rear window ethics.” During this scene, the audience sees that both Jeff and Lisa begin to question the acceptability of their voyeurism. Connecting to Blazer’s quote above, Jeff, Lisa, and Stella are aware of the taboo nature of watching people, but still wonder if it is their responsibility to watch their neighbors.
Much like Scottie in Vertigo, the audience learns that Jeff in Rear Window is something of a voyeur by trade. Although their occupations are different, Scottie being a detective, and Jeff being a photographer, both specialize in watching people. Jeff is naturally interested in the varying behaviors of his neighbors, because they pique his photo-journalistic interest. All of the different households Jeff can see offer different types of stimulation to the voyeur:
In Rear Window, there are two different but interlocking ways of reading Jeff’s voyeurism. On the one hand, what he sees is a reflection of his inner world: the characters and situations he observes are like projections of (a) his fears and fantasies and (b) the tensions between him and Lisa. On the other hand, the film also draws a highly sophisticated self-reflexive analogy between voyeurism and the experience of watching a film (Walker 171).
Most of Jeff’s voyeurism is considered scopophilia, as he typically watches for leisurely entertainment. Jeff and Lisa watching the musician is a good example of scopophilia. Shortly after Lisa is introduced to the storyline, the couple sits in Jeff’s apartment preparing to eat dinner. The musician across the courtyard begins to play the piano, drawing Lisa from the kitchen. “Where is that wonderful music coming from?” Lisa asks. Lisa and Jeff take pleasure in watching and listening to the musician during this scene. The musician draws the couple’s attention, but they move on from the scene shortly afterward to discuss the problems with their relationship. Jeff and Lisa only seem to notice the musician again when Thorwald or the other characters are being inactive throughout the remainder of the story. Jeff, Lisa, and Stella watching Miss Lonely Hearts further demonstrates yet another example of scopophilia at work in Rear Window. For this case, Jeff and Stella’s viewing of Miss Lonely Hearts is more pronounced, than the interest in the musician. Jeff watches as his sad neighbor toasts herself in her apartment, and he silently toasts her back. He has respect for his lonely neighbor, watching her occasionally, but never obsesses over her behavior.
Jeff watching Thorwald becomes its own unique issue. Although Jeff watching his mysterious neighbor starts as innocent curiosity, it quickly turns into an obsession. The obsession ends up putting his loved ones and himself in danger. The morning after Jeff discovers that Thorwald is acting strangely, Stella comes over to care for Jeff. The duo watches Thorwald pace through his apartment across the courtyard. Thorwald approaches his window and looks out across the way, causing Jeff to panic and tell Stella to move away from the windows as to not be seen. Stella tells Jeff, “I’m not shy. I’ve been looked at before.” Jeff replies to her “That’s no ordinary look.” The film takes a turn, as it becomes evident that should Thorwald see Jeff and Stella, Jeff would no longer be the voyeur, and would thus lose his power. Thorwald would then turn his voyeuristic gaze to Jeff, making him the subject of his watchful eye, “thus Hitchcock’s notably reflexive film is as much about scopophobia as it is about scopophilia,” (Howe 17). This means that the scopophile or voyeur fears being seen, becoming an idea that translates throughout Rear Window, Vertigo, and Psycho. Jeff questions the permissibility of watching his suspicious neighbor, but brushes that feeling off, by considering himself “a voyeur who privileges himself as a subject in opposition to those whom he watches as objects,” (Howe 17). He chooses to believe that his voyeurism is in the interest of justice.
Scopophilic voyeurism is portrayed as innocent watching, for the sake of pleasure throughout each of Hitchcock’s films. Psycho depicts scopophilic voyeurism rather innocently, as Norman simply takes interest in those around him and watches with a keen eye. The scopophilia in Vertigo is mutually beneficial for both Scottie and ‘Madeleine. Jeff’s focused voyeurism in Rear Window leads to the arrest of a murderer, which aids the public. Alfred Hitchcock’s Rear Window poses the question, is voyeurism permissible so long as it benefits society?
This final style of voyeurism is specific to the way Alfred Hitchcock portrays voyeurism to his audience. Knowing that his audience has an intrinsic need to know private details of people’s lives, Hitchcock used specific filming styles that placed the audience in the position to become a voyeur. Even from the start of the movie, Psycho turns the audience into voyeurs, by involving them in the personal, intimate details of the characters’ lives. This stands true with Rear Window and Vertigo as well.
After the opening credits, the scene opens up in Phoenix, Arizona. The audience gets a brief view of the skyline, before focusing on a lone window in a hotel. The camera then leads the audience through the window and to the scandalous scene inside. The camera work in this scene is unique, as it forces the audience to assume the position of a voyeur peeping through the blinds at a post-coital scene. Psycho shocks the audience in several ways throughout the film. One such way is Hitchcock’s suggestive cinematography. When the camera enters the hotel room, the audience sees Marion lying suggestively on the bed, wearing only a brassiere and a half-slip. According to “Psycho-sexual: Male Desire in Hitchcock,” of Hitchcock’s 50 films, Psycho is the only one to show a woman wearing a brassiere (Greven 89). Additionally, the audience watches Marion undress a couple more times before her death.
As mentioned prior, Norman watches Marion undress through the peephole he made. Stylistically, Hitchcock made an interesting choice, as her undressing is shown in a circle, mimicking the way one would see if they looked through a peephole. By making all of these cinematic choices, the audience is forced to become a voyeur like Norman. This type of scandalous cinematography was shocking at the time. Later, Hitchcock pushed the boundaries of acceptability once more by showing a woman in the shower. Not only did the audience see a surprising murder, but also they saw it while a woman was nude in the shower.
Vertigo takes a different stylistic approach when making the audience a part of the film’s voyeurism. The long takes of Scottie following ‘Madeleine’ in the car gives the impression that the audience is in fact following her. As the car slowly follows behind ‘Madeleine,’ making constant turns, the audience begins to become invested in watching her, for fear they will miss something exciting. The fact that these scenes of Scottie trailing ‘Madeleine’ are so long, displays how important it is that the audience watches and obsesses over her every move. Hitchcock makes another interesting move by keeping the audience in the dark, as it were, about the details of what happens in between scenes. For example, when Scottie follows ‘Madeleine’ to the hotel, and she disappears, not only is Scottie confused, but the audience is too. Hitchcock sets his audience up to become obsessed with ‘Madeleine, just like Scottie does. The unknown is a powerful tool. Another example of keeping the audience uninformed about the details of the story, in order to create drama and suspense, is when ‘Madeleine’ wakes up in Scottie’s bed after falling into the bay. Presumably, the audience has a desire to know what happened between the scene of Scottie saving her, and the scene where she wakes up naked in his bed. By making the audience wonder about the femme fatale of the story and her actions, Hitchcock sets up his audience to scrutinize and intently set their gaze upon ‘Madeleine,’ thus turning his audience into voyeurs.
Similarly to the circular peephole used in Psycho, Rear Window uses this same technique when Jeff uses binoculars and his long telephoto lens to spy on Thorwald. This movie displays this type of filmography multiple times throughout the duration of the film. However, Jeff is not the only one to use the telephoto lens to watch his neighbors. Near the end of the film, Stella uses the camera to watch Miss Lonely Hearts in her apartment as she contemplates suicide. The choice Hitchcock makes in using this film style is important, because it forces the audience to spy on each of Jeff’s neighbors.
All three of the films use uneasiness and discomfort to remind the audience that they too are voyeurs, casting their voyeuristic gaze upon characters in the movie. By filming his movies this way, Hitchcock reminds his audiences that they too could be considered voyeurs or scopophiles depending on the way they live their lives.
“Voyeurism emerges as one of the major themes
of Hitchcock’s mature work, from the 1950s forward” (Greven 89). In conclusion,
although voyeurism appears in several of Hitchcock’s movies, Psycho, Rear Window, and Vertigo depict very different forms of
it. As noted in “Film Culture in Transition,” “Jeff’s
voyeurism is certainly not all bad- it serves to uncover a murder- but
Hitchcock nevertheless suggests that there is something unhealthy about it: it
is a little too obsessive” (Walker 171). Obsession is what ties all of these
voyeurs together. These obsessive characters display their voyeurism throughout
the films, each one showing their voyeurism differently. All of these facts of Psycho, Vertigo, and Rear Window further show that Alfred Hitchcock became a revolutionary filmmaker by
his capacity to engage audiences through the use of sexual voyeurism,
scopophilic voyeurism, and his ability to make the audience voyeurs themselves.
Works Cited
Blazer, Seth M. “Rear Window Ethics: Domestic Privacy versus Public Responsibility in the Evolution of Voyeurism.” The Midwest Quarterly (2006): n. pag. Web. 10 Nov. 2016.
Ertuna-Howison, Irmak. “Reversal and Recognition in Alfred Hitchcock’s Vertigo.” The Explicator 71.1 (2013): 49-51. Web. 1 Dec. 2016.
Greven, David. Psycho-sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin.: U of Texas, 2013. Web. 12 Nov. 2016.
Howe, Lawrence. “Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock’s Rear Window.” College Literature 35.1 (2008): 16-37. Web.
“Voyeur.” Merriam-Webster. Merriam-Webster, n.d. Web. 09 Dec. 2016.
Walker, Michael. Hitchcock’s Motifs. Amsterdam: Amsterdam UP, 2005. Web. 14 Nov. 2016.
