Vertigo and the tragic sublime
This is a paper about the cinematic as spectacle and the construction of the sublime. It is concerned with gendered constructions of desire and construes the object of desire in this case as a sublime object. At same time, the paper is about decadence and falling, falling away. Therefore,...
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| Format: | Article |
| Status: | Published version |
| Publication date: | 2002 |
| Country: | Brasil |
| Institution: | FGV |
| Repository: | Revista de Administração de Empresas |
| Language: | Portuguese |
| OAI Identifier: | oai:ojs.periodicos.fgv.br:article/37630 |
| Online Access: | https://periodicos.fgv.br/rae/article/view/37630 |
| Access Level: | Open access |
| Keyword: | Cinema gender theory tragic sublime gênero teoria trágico |
| Summary: | This is a paper about the cinematic as spectacle and the construction of the sublime. It is concerned with gendered constructions of desire and construes the object of desire in this case as a sublime object. At same time, the paper is about decadence and falling, falling away. Therefore, this piece of writing attempts to deal with some thoughts on the relationship between decadence and mortification. So this paper is alsoabout distance and about movement, about kinema (Greek movement) and the distance that is described by falling from the constructed sublimeand its associated melancholy. These ideas are explored via an examination of one of Alfred Hitchcock’s most powerful films, Vertigo (1958), and a notion of the tragic sublime. Taken together, the concept of the sublime and the narrative of the film provide insights into the melancholy of commodified representations in the obsessive-compulsive pursuit of organizational idealization. |
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