Rear Window Film Annotated Bibliography Paper

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It is the same question with last time. But last time you are using peeping tom which we saw it in class. So this time plz pick another film to do this assignment. thank youPlz read instruction carefully !!!plz read this carefully!!!!
a. Choose an essay topic. Your bibliography must reflect the topic of your essay. This will reduce your workload and also get you thinking early about your essay.b. Compile your bibliography. The number of sources you will need will depend upon your topic, but I recommend that you have no fewer than three and no more than six, beyond those you have chosen from our text. If you find yourself with more your topic is too broad; if you have less, your topic is too narrow to sustain an essay of the required length.c. Assemble and format your bibliography according to Joseph Gibaldi’s Modern Language Association Handbook for Writers of Research Papers. It is essential to the assignment that you consistently use this bibliographic style.d. Annotate your bibliography. An annotation is a brief description of the text which summarizes the main issues and indicates the text’s importance to your essay. Each bibliographical entry plus its annotation should be a substantial paragraph. Your entries should be arranged in a recognizable and relevant order, i.e. hierarchically according to importance, chronologically/historically etc. You must provide me with a brief preface to your bibliography (of one paragraph) indicating your essay’s prospective thesis, a justification for the ordering your bibliography and a rationale for including the particular secondary sources you have chosen.e. Method: how do you go about finding material relevant to your topic? Here are some suggestions for getting started. i. Browsing, on foot in the stacks and via the catalogue. The library terminals enable you to do sophisticated searches—learn to use them! ii. Bibliographies, indexes and footnotes of other books, such as your textbook. iii. Reference books. The library’s reference section has many film reference guides, dictionaries and bibliographies, and the reference staff are very approachable. iv. Periodical indexes. Also available in the library are indexes like the Film Literature Index which lists journal and other articles according to author, filmmaker, subject, film title etc.TOPICS1) With reference to a specific film, compare and contrast Christian Metz’s and Laura Mulvey’s accounts of voyeurism, fetishism and identification. Which is more useful? How and why?

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Surname 1
Name
Professor
Course
Date
Annotated Bibliography
With reference to a specific film, compare and contrast Christian Metz’s and Laura
Mulvey’s accounts of voyeurism, fetishism and identification. Which is more useful? How
and why?
The comparison of Metz’s and Mulvey’s accounts on voyeurism, fetishism, and identification
will mainly include a close comparison of two of the theorists’ readings. From this comparison,
additional sources will be used alongside the film Peeping Tom (1960). The two additional
sources are articles located in peer reviewed scholarly journals. They provide diverse
information on either the film or theories of voyeurism in film. The bibliography below has been
ordered according to the importance of the articles. The first two articles, however, are of equal
importance since they will be the crucial articles to be compared. Moreover, the preliminary
thesis is as follows: Christina Metz’s theory on voyeurism, fetishism, and identification is better
than Mulvey’s due to its heavy reference and application of Freudian psychoanalysis which is
essential in the field.
Metz, Christina. “From The Imaginary Signifier: Loving the Cinema; Identification, Mirror;
Disavowal, Fetishism.” Critical Visions in Film Theory: Classic and Contemporary
Readings. Ed. Timothy Corrigan, Patricia White and Meta Mazaj. Boston: Bedford/St.
Martin’s, 2011. 17-33.
Surname 2
Christina Metz draws from the works of spectatorship theorists to discuss cinematic apparatus
which encompasses the “imaginary signifier” and institutional alignment. Primarily, he refers to
psychoanalysis to create a theory on which spectatorship can be grounded in films. He largely
agrees with Baudry on the structures that go into the pleasure of cinematic spectatorship. This
work, therefore, provides an in-depth view of the theorist’s view on cinematic visual pleasure
and will be used to compare Metz’s views with those of Mulvey. The source will be applied to
the film of interest Peeping Tom to enhance the reader’s understanding of the crucial aspects of
voyeurism and how the theories can apply in the film.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Critical Visions in Film Theory:
Classic and Contemporary Readings. Ed. Timothy Corrigan, Patricia White and Meta
Mazaj. Boston: Bedford/St. Martin’s, 2011. 713-723.
As a renowned film theoriest, Laura Mulvey discusses a few insights into visual pleasure and
how it is used in narrative cinema. She discusses psychoanalysis with a background in Freud’s
work and the political use of the same in film analysis. Additionally, she creates theories of
pleasure created by watching the human form and suggests that with sexual imbalance, male
characters have been highlighted as the active participants while females are passive participants
of the watching. Generally, this work looks deeply into theories of visual pleasure as aligned
with voyeurism and is one of the two main sources to be compared in the essay. It provides the
views of Mulvey and allows the reader to make an effective comparison using Peeping Tom as
the film for applying the theories.
Hawthorn, Jeremy. “Morality, voyeurism, and ‘point of view’: Michael Powell’s Peeping Tom
(I960).” Nordic Journal of English Studies 2.2 (2003): 303-324.
Surname 3
Jeremy Hawthorn provides a critical analysis of Peeping Tom and mainly handles the themes of
morality, voyeurism, and point of view. In this paper, he argues that the film used a Freudian
approach in paying attention to the murderer’s life and his psychoanalytic make up. Moreover,
the author presents a critical review of the specific aspects of voyeurism that make the film a
sensation. This article will be useful in gaining a perspective on the various interpretations of
voyeurism specifically in the film and how it affected the audience. Since the author uses a
historic approach to understanding the film, this article will also be instrumental in understanding
its background and how it played out with its primary audience.
Metzl, Jonathan M. “Voyeur nation? Changing definitions of voyeurism, 1950–2004.” Harvard
Review of Psychiatry 12.2 (2004): 127-131.
This article takes a historic approach to the issue of voyeurism and looks into how definitions of
the word have evolved over time. It suggests that due to changing definitions, the nation has
essentially changed to become a voyeur nation. In relation to the film, the author uses it as a
basis for setting various definitions of voyeurism and how that has changed over time. Therefore,
the perspectives of Metzl will be paramount in informing the various definitions of voyeurism
and hence effectively comparing the two primary sources for this paper. Generally, the article
will be used to understand how Peeping Tom became a definition of voyeurism and how that
definition has been reflected in the film.

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Film Theorists

film theory

Film Theory Response

fetishism

voyeurism

Rear Window

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