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The Madwoman Comes Out

of the Attic

Prof. Ma. Cristina Llorente

2011

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The Mad Woman Comes out of theAttic

Two film adaptations/transpositions

Cultural Instrumentality (Kuhn,1989)

Film discourse: iconic,acoustic and verbalsignifiers

Editing and Mise-en-Scne

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Editing

Spectatorial identification (Orpen,2003)

Recognition

Alignment

Allegiance

Suture

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Blind Space( Bonitzer,1980)

Specular space

Blind space

Bertha as a fluid entity (inhabits blind space)

Interplay between these two spaces: the basis ofthe Thriller

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The 2006 Adaptation

Suturing the spectator

Point of view

Fracturing the text

Berthas point of view

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The Noir male voice over narration

Male discourse entrenched within theSymbolic Order

The potency of Mise-en-Scene subvertsmale verbal narrative efforts

Female unrestrained desire expressedthrough the Gaze and the Voice(Silverman,1989)

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