Abstract

This thesis explores how films Funeral Parade of Roses (1969) by Toshio Matsumoto and Perfect Blue (1997) by Satoshi Kon subvert the male gaze of the camera by having the female main characters look back at the audience. The characters Mima (Perfect Blue) and Eddie (Funeral Parade) take control of the camera to subvert the hierarchical relationship between apparatus, audience, and characters. Through the lenses of apparatus and affect theory, these films show how the world of film includes the audience instead of precluding them. Experimental editing and heightened emotional situations unsettle the audience's voyeuristic position, bringing them closer to the undoing of the female leads. Audiences are urged to ponder the narrow gap between media, technology, and embodied personhood.

Degree

College and Department

Humanities; Comparative Arts and Letters

Rights

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