kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals

kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals
kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals

kissthefuture:While the context and narrative itself sets up obstacles, the film often uses visuals to help express Clarice’s status in the order of things. A recurring visual motif is Clarice surrounded by taller men, dwarfed and brought down by their stature. Yes, Jodie Foster is a short woman, just a few inches over five feet, but the film often exaggerates that discrepancy to express her challenge in overcoming a patriarchal society that literally looks down on her. […] The film camera also never objectifies Clarice. Throughout the film she is presented as an object of the male gaze by the characters in the narrative, but the camera does not assume this perspective of the male look until the end of the film. It’s at this point then that Clarice punishes and banishes the male gaze for objectifying her. [x] -- source link


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