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Essay / Research Paper Abstract
A 10 page paper which examines the seductive ways in which these women are gazed at by the viewer, focusing particularly upon their intimate interaction with the camera. Bibliography lists 6 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGnataudry.rtf
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Unformatted sample text from the term paper:
a frame; it completely overwhelms the frame. Eyes are on her and only her, and the camera enables the viewer to become voyeurs - able to obsessively watch her
every move without feeling guilty. The powerful cinematic experience becomes a sexual pleasure that produces the same arousal again and again every time the film is viewed. There
are few other women who have such a commanding screen presence as Marilyn Monroe. But like Monroe, actresses Natalie Portman and Audrey Hepburn enjoy a unique and highly erotic
but non-threatening kinship with their audiences. Portman was typically cast in ing?nue type roles until graduating with honors to full-fledged sex symbol status in Mike Nichols provocative 2004 film,
Closer, in which she portrays the free-spirited stripper, Alice Ayers. With exotic beauty and vulnerability, Portman engages in flirtatious bits of foreplay with the camera that has the effect
of totally seducing the audience. Her screen appeal is reminiscent of that captured by another fresh-faced beauty, Dutch-born actress, Audrey Hepburn. Virtually unknown when cast in the lead
role of Princess Ann (Anya Smith) in William Wylers 1953 romantic comedy, Roman Holiday, she captivates the audience with a combination of sexuality and innocence that made superstardom a foregone
conclusion. The cinematic experience is one in which the spectator (the audience) is gazing at an object (the film performer). Typically, a romantic screen plot involves a heroic spectator
pursuing and ultimately claiming "possession of the eroticized female, the object of his desire" (Brown 1). According to Professor Caroline Brown, the cinematic heroine "is not a presence in
and of herself but both an extension and negation of the hero, an idealized figure who signifies his fate. Not only does the very act of looking thus cause
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