Reading Response: Nezar AISayyad

Start with the three movies, this article introduces Voyeuristic Modernity and gives some ideas behind it.

On the one hand, despite people may be uncomfortable with their privacy being invaded when they are under the systems of surveillance and it might violate human rights in some sense, the systems of surveillance have played a great role in maintaining social order and stability. As in the third movie, Ray has seen the kidnapping because his job is to monitor the video screens at an FBI crime prevention facility.

However, on another aspect, monitoring system act as the virtual spectacle as the enticement for the real and the gaze of pleasure and control. From point of my view, the voyeurism in these films is also an amplification of humanity and it is highly related to reality.

I am quiet interested with the idea that power and gendered gaze. In one respect, however, the men really were strikingly similar. In all three films, in the unequal relationship, voyeur and someone was peered, however, the control of the gaze is clearly in the domain of the male protagonists. Women are mainly objects. It gives information about the relation between power and gendered gaze, although Mulvey revised this position in the 1980s in response to criticism.

Moreover, I would like to discuss more about the relation between film and life, virtual and reality. Obviously, art is a form of reflection of life, sciences and plots in movies rather can be found in the real world. Nevertheless, life also borrows from art. The film, the evidence of violence thus opens a discussion on number of contemporary issues that have emerged in the real city in recent years.

Meanwhile, films can create a kind of virtual scene to satisfy the pleasure that people cannot easily get from the reality world, ”the film industry fans the flames of fear and hatred through the invention of violent.”

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