The Camera as Control: The Male Gaze in Vertigo and Citizen Kane

Both Vertigo and Citizen Kane frame obsession and power through a masculine perspective, visually positioning women as objects shaped by male desire and control.

In Alfred Hitchcock’s psychological thriller Vertigo (1958) and Orson Welles’ masterpiece Citizen Kane (1941), the fundamental principles of patriarchal domination and gender stereotypes manifest in the use of sundry cinematic techniques. Hitchcock’s film follows John “Scottie” Ferguson, a former detective whose career ended early due to his acrophobia, as he becomes entirely affected with Madeleine, his friend’s wife who he was asked to observe due to concerns of a potential mental illness. Welles’ tale features the life of newspaper tycoon Charles Foster Kane in his quest for power and wealth but also highlights his destructive effect on his second wife, Susan Alexander Kane. Both directors craft female characters, within their respective narratives, as projections of male desire and control, as seen in Welles’s innovative use of dramatic high and low-angle shots to display power imbalances, specifically Susan’s diminishing worth under Kane’s dominating presence and Hitchcock’s careful creation of mise-en-scène within Vertigo, used to paint Madeleine as an ethereal object of enchantment. 

Through the orchestrated manipulation of light, sound, and color, as well as the sophisticated deployment of complex cinematographical and compositional choices, both filmmakers construct images of feminine subjugation that exemplify Laura Mulvey’s concept of the “male gaze” (808), as explained in, “Visual Pleasure and Narrative Cinema”  (1975) further reinforcing patriarchal ideals. 

Theories explored in “Visual Pleasure and Narrative Cinema” 

Laura Mulvey’s “Visual Pleasure and Narrative Cinema”

Mulvey’s “Visual Pleasure and Narrative Cinema” presented a ground-breaking lens to analyze and critique classical Hollywood cinema in coining and exploring several influential concepts that perpetuate sexist beliefs and systemic objectification of women within the art form. She presents different theories that have been seen to control film story structure and visuals for decades. At the core of her work, is the “active/passive heterosexual division of labor” (810) theory, in which Mulvey defines as the relegation of women to be passive objects of contemplation while men exist as active agents who drive the narrative. This distinction is depicted through the key mechanism of “scopophilia, the pleasure in using another person as an object of sexual stimulation through sight” (808). Mulvey thus believes women in classical cinema are reduced to their “to-be-looked-at-ness” (809)--“their appearance coded for strong visual and erotic impact” (809). She claims men are active bearers of the look who drive the narrative forward while women are the passive objects presented to be baked at for male pleasure. This gendered division, frequently occurring within film, mirrors broader societal patterns of gender where male’s are positioned as the doers and women are the recipients of their action. Mulvey contends that it is this structure that reinstates power dynamics by conditioning audiences, regardless of gender, to naturally adopt a masculine point of view that objectifies women and strips them of their own agency. Both Vertigo and Citizen Kane validate several of Mulvey’s theories.

Vertigo’s Restaurant Sequence

Vertigo’s restaurant sequence serves as a critical moment in the film in which the audience watches Scotty slowly become entranced by Madeleine, effectively establishing the object of obsession and the psychology of the obsessed. Rather than creating a traditional establishing shot and providing a conventional exterior view of Ernie’s restaurant, Hitchcock skews audience perceptions by creating a voyeuristic perspective. The camera itself immediately becomes a character, creeping around the site with what could be intercepted as predatory intent. This method is particularly pertinent as it almost instantly subjects the viewer to partake in the surveillance, and adopt Scottie’s perspective and, by extension, mounting obsession with Madeleine. The darkness of the shot is disturbed only by the alluring red-tinted windows of the restaurant, pulling the character and the audience in toward the primary setting of the scene. 

The deliberate use of a slow dissolve cut to transition into the restaurant’s interior, creates a dream-like feel to the sequence, visually depicting the viewer’s and Scottie’s psychological passage from reality into a world of false perceptions and fantasy. Once inside, Hitchcock’s use of color throughout the sequence becomes particularly significant. The restaurant’s vibrant and textured red wallpaper, as part of the mise-en-scene, could symbolize sexuality and passionate obsession as well as the potential danger that will ultimately lead to Scottie’s downfall. All the wealthy, older, and elegant patrons in the room appear to be wearing dark muted tones of black and gray making Madeleine’s vibrant green coat all the more shocking to the eye. She first appears, nude back turned to the viewer. Her pinned-up bleach blonde hair starkly contrasts with the dark gray and brunette tones of the crowd’s, immediately distinguishing her from the surrounding environment. The green, being on the opposite side of the color wheel to red, serves to isolate Madeleine visually. This places her in what Mulvey terms a “to-be-looked-at position,” creating visual pleasure for the audience through the male gaze. 

This carefully composed close-up exemplifies Mulvey’s concept of “to-be-looked-at-ness,” where women are visually isolated and aestheticized for the pleasure of a presumed male spectator.

Arguably the scene’s most pivotal moment comes in the form of a smooth panning shot in which the camera pulls back from Scottie seated at the restaurant’s bar, and dollies around to follow his gaze and reveal Madeleine. Although we cannot see her face, Madeleine is central to the frame, establishing her as the main object of observation rather than an active character within the scene. What begins as a simple mechanical pan transforms into the camera appearing to be “stopped” by Madeleine’s presence before encroaching closer to her, replicating Scottie’s transformation from a detached observer to an obsessive admirer. Even the camera is not immune to Madeleine’s mysterious, evasive, and ultimately unknowable allure, as seen through its movement. The cinematography voyeuristically positions both Scottie and the audience as privileged observers of the female lead.

Sound plays an equally crucial role in the scene’s psychological impact. The sequence starts with only the mundane sounds of restaurant activity--filled with murmured conversations and quiet clinking of plates. The soundtrack gradually swells into a romantic, airy tune as  Madeleine comes into focus. This progression from diegetic to non-diegetic sound mirrors Scottie’s psychological journey from objective reality to subjective experience as he enters this enamorment with this intriguing figure. The music intensifies when Madeleine approaches his position at the bar, only to descend and lose its tempo as she passes, Scottie too averting his gaze, realizing the improbability it is that he obtains his object of desire. It is almost as if the music gives Scotty a voice when he is not speaking to convey his utter infatuation with Madeleine. 

Hitchcock masterfully employs lighting and specific framing techniques to construct the landscape of Scottie's obsession. Madeleine is portrayed as an almost angelic being, bathed in a soft, ethereal glow that seems to emanate from within; the walls physically brightening as she moves through the space. This visualization of Scottie’s perception of her perfection is accentuated when she is literally framed as a painting, as she walks through the door frame. Madeleine transforms into art to be gazed upon--a perfect, untouchable woman in his eyes, effectively normalizing Scottie’s obsessive surveillance and control over the female form. At this point, her husband Gavin Elster, as he speaks to a waiter, is seen to be much darker than glistening Madeleine as he almost appears to stand in her shadow. Scottie’s appearance, in this similar profile type shot, emphasizes his role as a spectator: he appears in asymmetrical compositions, partially cut from the frame, looking at Madeleine through the corner of his eye, his face partially hidden from the camera in shadow. His averted gaze is representative of the shame and guilt he feels in obsessing over her. The jarring cuts between Madeleine and Scottie’s shots further juxtaposes their differences. While Madeleine, in her profile shot, stands confidently in the light as the main feature of each frame, Scottie is positioned lower, his chin cut off, turned away in darkness, suggesting his feelings of inferiority. The scene comes to a close as Madeleine and Gavin exit the restaurant. Their reflection creates a doubled image in the mirror by the door that serves as both visual metaphor and narrative foreshadowing. This simple but effective shot anticipates the revelation of Madeleine’s dual identity and perhaps ulterior motives. 

The artistry of Ernie’s restaurant sequence lies in the use of technical elements to create a complete psychological portrait. Every camera movement, color choice, and sound cue contributes to our understanding of Scottie's deteriorating grip on reality and Madeleine’s position as both object of desire and architect of deception. 

Susan’s Frustration with her Opera Career Sequence

The systematic objectification of women manifests differently but no less powerfully in Citizen Kane, where Kane’s relationship with Susan Alexander mirrors the controlling male gaze that dominates Vertigo. In this pivotal scene, differing cinematic techniques are employed to highlight the power imbalances within a married couple’s relationship. The scene begins as Susan, appears sprawled across the floor in an elegant sitting room, immediately establishing her vulnerability as she expresses her furry over a scathing review of her opera debut that appeared in her husband’s own newspaper. This betrayal--Kane’s willingness to sacrifice his wife’s dignity for media attention--serves as a microcosm of the dysfunctionality of the relationship. 

The scene’s composition deliberately creates visual hierarchy that mirrors the immediate power struggle and reinforces the expected set societal gender roles heterosexual couples were to take within their relationship. Susan is positioned on the ground, surrounded by scattered newspapers and wilting flowers, potentially a reflection of her dispersed mental state. The carefully chosen items used to orchestrate the chaos of the setting are symbolic of the public humiliation she is facing as well as her diminishing worth and loss of identity due to her marriage. 

Kane’s commanding presence evolves throughout the scene yet he is always higher in the frame than his wife. First he appears seated in his chair, which is a position symbolic of power and then later standing, towering over Susan and establishing his dominance. The physical distance between characters also gradually changes throughout the scene, with Kane increasingly invading Susan’s personal space as his control tightens, creating an intimate yet oppressive dynamic.

Kane’s dark silhouette engulfing Susan’s illuminated figure transforms lighting into a symbolic weapon, visually representing the erasure of her voice and independence.

The technical elements--lighting, sound, and cinematography--function in harmony to masterfully showcase marital inequalities. When Kane towers over her, his dark robe creates a powerful shadow that engulfs her light figure, symbolically representing his oppressive and contaminating control over her once pure life. The contrast between his dark attire and her white garment is another symbolic depiction of the corruption of innocence and once independent spirit. The scene’s sound, though the diolougue’s change in volume and intensity, further illustrates Susan’s gradual submission to Kane. It begins with Susan’s unrestrained screaming about the reviews, demonstrating her initial defiance. As Kane’s presence becomes more dominant and oppressive, her voice diminishes, while his voice’s volume and presence rapidly increases. This audio transformation follows the larger pattern of their relationship, where Susan’s voice--both literal and metaphorical--has been systematically silenced by her husband’s overwhelming and dominating presence. The camera work reinforces these power dynamics through strategic angle choices. Varying high and low angle shots, in which Kane is looking down at Susan and she glances upwards, highlight her vulnerability and powerlessness, making him appear more imposing. The angles also speak to the psychological impact of living under constant scrutiny and control. 

Ultimately, audiences learn that through the intricate layering of visual and auditory techniques, we watch as control can be both subtle and overwhelming, leaving its mark on even the most private spaces of domestic life. Through the theoretical framework of Mulvey’s “Visual Pleasure and Narrative Cinema,” both Vertigo and Citizen Kane emerge as powerful examples of how classical Hollywood cinema systematically objectified women through specific visual and narrative techniques.  Just as Scottie’s “inability to fully understand Madeleine drives him mad with desire” (Hitchock, 1958) and leads to an obsessive need to possess and reshape her identity, Kane attempts to mold Susan into a projection of his own desires and status with complete disregard for her autonomy, in forcing her to pursue a career in singing. Both films demonstrate how femininity is minimized to an object of desire with women’s actual personality as a human beings rarely shown. The female characters exist only to satisfy male fantasy. The parallel treatment of women in these films validates Mulvey’s assertion that classical Hollywood cinema inherently privileges male power and subjectivity while prioritizing female subordination. The recognition of this occurrence within pieces of media, however, helps to centralize conversation around the problem and steer audiences and filmmakers towards a more inclusive and progressive representation of individuals within cinema.