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| | Synoptique - The Construction of the “Hitchcock Blonde” : in MARNIE (1964) (Site not responding. Last check: 2007-10-12) |
 | | Marnie is often caught up in this montage network of gazes, objects, and focused attention, and I would argue that the variations of this filmic relay occur around and in regards to Marnie preponderantly, and in correspondence—though not always clearly definable—with the fluctuating positions she occupies within the narrative. |
 | | Here, Marnie’s movements are monitored by the male stable hands—before cutting to a shot of Marnie and Forio galloping off in the distance, a shot of the unnamed (and unimportant as a character) stable hand watching Marnie intently as she rides off is held just long enough to strike one as uncomfortably or surprisingly over-long. |
 | | Marnie’s every move, it would seem, is monitored, and even her own perspective, her own POV shots, are controlled, as it were, by a relay of gazes that fix her as the object. |
| www.synoptique.ca /core/en/articles/marnie (4714 words) |
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