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Deepening the import of the images of broken-legged Jeff and the broken camera, we see a framed photograph of a car as it flips over in an auto race; unmistakably, the image of the cylindrical car with two large wheels along either side recalls a penis and testicles.But, given that this is an image of the accident in which Jeff broke his leg, and that one of the wheels is coming loose from the car, the photograph evokes castration as much as it reassures the spectator with the presence of the phallus.In one of the other photographs, a mushroom cloud climbs out of the frame; if we see a continuation of phallic/sexual imagery here, we might read this as a sign of orgasm, but also as a statement that male orgasm is apocalyptic.

is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man.

Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches.

Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context.

Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance.

That we see the negative image of the woman first seems to me significant. Jeff can only see "negative" images of women, which does a lot already to explain his mysteriously contemptuous disposition towards his girlfriend, the beautiful, witty fashion model Lisa Carol Fremont, played magically by Grace Kelly.

Moreover, Jeff frames his negative image of a woman, proudly displaying his own caustic, acidic take on sexual difference and perhaps sex itself.That the "normal" image of Woman appears on a magazine, and that this magazine is the top one on a stack of what are presumably more copies of the same magazine, signifies the mass production and circulation of normative images of gendered subjectivity.The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. It's a hot summer day, and the jazzy music in the background adds to the sultriness., the camera, mobile with a pure cinema life of its own, roams about the apartment of L. An action photographer for magazines, Jeff, his leg in a cast from a work-related injury, is asleep in his wheelchair as the camera examines some of his possessions for clues to his identity, pausing deliberately to focus on various objects, especially some framed photographs.As if crawling into Jeff's apartment from the outside, the camera scales the building, comes in through the window, stares at the perspiring Jeff, then scans the length of his seated body, particularly the extended cast in which one of his legs is simultaneously immobilized and erect, an apt metaphor for his version of masculinity.The movie camera then looks at the photographer's crumpled camera on a desk, presumably destroyed in the accident in which Jeff broke his leg.