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Brutal voyeurism, repulsion and social awareness<br />

Lucy's journey into voyeuristic exposure at the country house continues through the<br />

morbid gaze <strong>of</strong> Richard Reed, Miranda's lover, who embodies the second kind <strong>of</strong> voyeurism<br />

represented in the film, this being an intrusive attitude leading to aggressive behaviour. He is<br />

a personification <strong>of</strong> the kind <strong>of</strong> man that Western consumer society, with its devotion to<br />

materialistic goals, considers a winner. He is handsome and health conscious, successful in<br />

his legal career, married, and engaged in a love affair with a beautiful woman (Miranda). His<br />

first appearance on screen is calculated to leave viewers with no doubts as to his<br />

ambivalence; he flirts with Lucy at first sight, speaking poetic words, the insincerity <strong>of</strong> which<br />

is underlined by Miranda who ironically comments that she had never been aware <strong>of</strong> his<br />

poetic talents. From the moment he knows about Lucy's virginity, he becomes obsessed by it,<br />

and, through his manner, viewers are made aware <strong>of</strong> the reason. He clearly considers Lucy's<br />

virginity as a virtue that adds value to the goods, as it were, making Lucy a rare form <strong>of</strong> prey.<br />

From that moment, he is portrayed as increasingly coarse and predatory. His POV shots are<br />

characterized by 'active scopophilia and its investigative, sadistic, enquiring look' as<br />

Elizabeth Cowie terms it (Cowie, 1997: 168) a gaze that sexually objectifies women.<br />

Through his perspective, Lucy's body is framed from all angles, even from extremely low<br />

angles to catch a glimpse <strong>of</strong> her underwear as in the hide-and-seek sequence. Viewed through<br />

Richard's gaze, Lucy's young exuberance is charged with an erotic excitability, and adult<br />

viewers <strong>of</strong> film will recognize the tactics he uses in to engender situations that will lead to<br />

erotic contact with Lucy. This represents an interesting situation for the film viewers, in terms<br />

<strong>of</strong> the concepts <strong>of</strong> alignment and allegiance (M. Smith, 1995: 75). As regards cognitive<br />

alignment, (adult) viewers will be aligned with Richard because they will recognize the<br />

strategies that he uses in order to get close to Lucy, but viewers may be simultaneously<br />

repulsed as Richard's behaviour will probably be evaluated as undesirable and harmful, and<br />

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