GENDER AND REPULSION

INTRODUCTION
Introduction the topic of Gender, and how it plays a role in the film
Looking at Male and Female

Defining the term ‘Uncanny’ and ‘The Uncanny’

Link to certain scenes within the film

How the production represents ‘The Uncanny’

How the Camera is used to create an Uncanny atmosphere in

Repulsion
 Gender definition
• The state of being male or female (typically used with reference to social and
cultural differences rather than biological ones).
"traditional concepts of gender"
the members of one or other sex.
"differences between the genders are encouraged from an early age“
• (in languages such as Latin, French, and German) each of the classes (typically
masculine, feminine, common, neuter) of nouns and pronouns distinguished by
the different inflections which they have and which they require in words
syntactically associated with them. Grammatical gender is only very loosely
associated with natural distinctions of sex.
The property (in nouns and related words) of belonging to a grammatical gender.
"determiners and adjectives usually agree with the noun in gender and number”.

Reference info
 1960’s male role
The 1960s was known as a decade of change were values and the societal
normal activity began to diverge from the old customs. For the most part
of this decade the roles of men didn’t really change that much compared
to the growing change of the female role in society, the common
proceeded role of men at the time were that they gave a family financial
stability and were expected to ensure a health upbringing of their families.

Reference info
Men’s look
FIGURE 1

Compared to the women in the 1960 who started

dressing more colourfully and ever changing, men
were always known in the early 60s to wear
nothing but suits; business attire which could be
considered societal conformity. The men that we
see through out the movie could be seen as
domineering figures not as oppressive but as a
higher figure in the social hierarchy. FIGURE 2

FIGURE 3
Women Within Repulsion (1965)
- 1960s Society and Role of Women
“One of the most profound changes was happening in the
bedroom. By the end of the Sixties, more than 80 percent
of wives of childbearing age were using contraception
after the federal government in 1960 approved a birth
control pill. This freed many women from unwanted
pregnancy and gave them many more choices, and
freedom”
Figure 4 -1960’s Contraceptive Pill
Contraception changed Britain, unlike the 50s the
contraceptive pill gave women control over their lives in
terms of unsuspected pregnancies.
It allowed women not to rely on males for contraception,
leading to less marriages. As often once a woman is
pregnant the men would have the obligation to wed. But
with the creation the the pill, marriages for women were
harder to come by.
Although seen as a positive creation, allowing women to
live with more freedom. Some argued it was. Form of
abortion, and would allow the youth to loose the meaning
of love and give in, instead to sexual desires. (R.Cafe (2011))
Women Within Repulsion (1965)
- 1960s British Women Fashion
Due to the contraceptive pill being
introduced women were given the
opportunity to dress more expressively,
with skirts becoming shorter. Popularizing
the mini skirt, which allowed women to
embrace their sexuality
The miniskirt was more than just a skirt that
laid a few inches above the knee, it was
symbol of youth, sexuality, and power. –
(Culture (2016))
Figure 1- Women of 1960s Britain (1963)
This would never have been considered a
decade with fashion being much more
conservative. With women being idolized
a innocent and naïve around their
sexuality.
Culture. (2016)

Figure 2- 1950s Women’s Fashion

Figure 3- Miniskirts in 1960s Britain
Women Within Repulsion (1965)
-Comparing Helen and Carol
We knew a girl in San Jama… was quite innocent, young and
delicate, looked very sweet. One of my friends started dating
this girl, and was telling us that he was discovering an entirely
different side of this girl, there was a great surprise to us –
Roman Polanski (2013)
This idea is represented within the character of Carol. She is
viewed as being beautiful yet timid to males, yet also contains a
dark side.
“She is an arrested adolescent who, like an anorexic, cannot
face her womanliness without visions of perverse opulence and
violence”. - K. Morgan. (2009).

It can be argued that Carol showcases both old and new

ideologies of societal norms of women around that time period,
which then contrasts to her sister.

Figure 5- Carol and Helen Repulsion (1965)


Figure 6- Helen Repulsion (1965)
Helen
- Objectified by men (allows this) – example: she
gets thrown around by her lover.
- - Follows the orders of the men - “ Go put your
best bib and tucker on I feel like a spree”
Michael (1965)
- 1960s women's freedom around sex
- Seen wearing short, revealing outfits within the
film similar to the 1960s attire.
- Still remains a stay at home woman who cooks “what lies beneath the “perfect woman,” she is the reflection
and cleans (1950s)
Figure 8- Males watching Carol (1965)
Figure 7 Carol Repulsion (1965) (cropped)
Carol
- Although objectified by men (see fig 8) she still
manages to avoid following their instructions and
does as she pleases. (1960s)
- Dresses very conservatively (1950s)
- Struggles to adhere to the new sexual freedom
women now have. (1950s)
- Works a day to day job. (1960s)
of what lies beneath repressed desire”- K. Morgan. (2009).
Which would have been held back in the 1950s.
UNCANNY AND THE UNCANNY
 DEFINING ‘UNCANNY’
“seeming to have a supernatural character or origin”

“being beyond what is normal or expected : suggesting superhuman or

supernatural powers”

Implies disquieting strangeness or mysteriousness

Uncanny is not the opposite of the English word ‘canny’ however’

• Canny can mean: clever, shrewd or prudent.

-(Merriam-Webster.com)
DEFINING ‘THE UNCANNY’.

• The uncanny is also the psychological experience of something as

strangely familiar, rather than simply mysterious.

It occurs when a familiar event or incident happens that the

person may have felt uncomfortable in, or had an unsettling
context.
SIGMUND FREUD – ‘THE UNCANNY’
The concept of ‘The Uncanny’ was later developed by Sigmund Freud in his
essay “The Uncanny” (1919)

"the idea of being robbed of one's eyes“- [Freud, 1919]

He states that; uncanny effects can come from the “repetition of the
same thing” – [Freud, 1919]

“the word for “uncanny” is very similar to the word for “familiarity.” For
example, the German word for uncanny, unheimlich, is the opposite of heimlich,
which means “familiar” or “belonging to the home.” – [Goldhill, 2016]

Something that might be scary to us, might also be safe and comforting or
recognisable. Which is what causes ‘The Uncanny.
Figure 1 – Book Cover –’The Uncanny’
THE UNCANNY – MEN IN THE FILM
Figure 2 - Landlord, Repulsion 1965
“The subject of the “uncanny” is
a province of this kind. It
undoubtedly belongs to all that is
terrible—to all that arouses dread
and creeping horror” - [Freud,
1919:1]
“She did not feel all too
heimlich with him.” “To
destroy the Heimlichkeit
of the home.”
“Something has to be
added to what is novel
and unfamiliar to make
it uncanny”
Figure 3 - Colin, Repulsion 1965
- [Freud, 1919:2-4]
The men within the film all
cause some uncanniness
for Carole, as they each
display some familiarity
with her father. Not only
through their gender, but
their attitude towards her.
Figure 4 - Michael, Repulsion 1965
THE UNCANNY – TABOO
A taboo is an activity that is forbidden or sacred based on
religious beliefs or morals. Breaking a taboo is extremely
objectionable in society as a whole. Around the world, an act
may be taboo in one culture and not in another. – [Your
Dictionary]

An activity which is forbidden to a certain religious belief.

Breaking a taboo is seen as an offense or unpleasant

This can be linked or be translated through the nun scenes

Figure 5 – Nun Scene, Repulsion 1965
in film. Carole keeps looking back at the nuns as a
remainder for what she has done and the thoughts she has.
The bell ringing also represents ‘the
uncanny’ Seeing them, causes uncanniness
UNCANNY IN THE FILM
AUDIO
Polanski’s brilliant audio design is first of all essential in our experience of Carol’s decline;
• the overriding acoustic effect is one of invasiveness, of unwelcome sounds overheard, the
centrepiece being Helen’s orgasmic aria penetrating the thin walls of Carol’s bedroom, sexuality
itself loudly proclaimed.
• The opening theme of a muffled, steady drumbeat suggests an overture to an execution, and
those thumps return, repeatedly and aggressively, as when Carol hastens to wash her face clean
from the contagion of an unwanted kiss from a visiting Colin.

”Bells, too, are classically enlisted to echo the onset of

madness—not just those of neighbourhood churches but also
in such domestic varieties as ringing telephones and doorbells,
both alarming indicators of the world outside trying to get in”.
-Horrigan

Throughout, Polanski uses jazz elements, percussive and nerve jangling, which provide a through
line to all of his earlier short films.
COLOUR
• Polanski surely looked to the short when
assembling Repulsion, a film that shares both a
similar basic premise and intense claustrophobic
tone. The visual style is one that gathers
momentum through restrained, simplistic and
powerful beats.
• Polanski here deals in binaries, two polar
opposites with no points between, sane and Fig 1. Carol between sane and insane.
insane, hostile and sedated, and corrupt and
innocent. There was no budgetary demand to
shoot in primitive black and white, and “The use of light and dark is used here to
brilliantly vivid colour stock was becoming signify Carol's psyche as she alternates
increasingly popular at the time, but the simple between the two states of mind”. -Thomas
divide between colours is used to devastating
effect and establishes itself as the film's most
prominent stylistic device.
 LIGHT
• The use of light and dark is used here to signify
Carol's psyche as she alternates between the two
states of mind, and she repeatedly weaves
throughout the beams of light to symbolise the
transition. However in previous scenes, we have
also observed it being used to act as a visual
representation of Carol's perspective, most notably Fig. 2; Carol
in the scenes that depict the apparent source of
her trauma.
• The special lighting creates deep shadows and
wide-angle lenses to expand the space of the
apartment the film takes place in, in grotesque
ways.
Fig. 3; Carol and Colin
THE UNCANNY CAMERA
 How does the camera contribute to the Uncanny?

• "Uncannyness" is often described as the result of an internal information crisis;

where a lack of, or conflicting information leaves us unsure what to feel or how to
react to something.

• Generally in film, shots are designed in a manner that most effectively

communicates information about the narrative and the layout of the scene to an
audience.

• Therefore 'Repulsion' frequently breaks the rules in order to withhold some of that
information from us, to generate an uncanny atmosphere.
A few ways the Camera is used to create an uncanny
atmosphere in ‘Repulsion’
 One; The Camera simulates the human eye
The human eye is a camera, and can be talked about using the same optical terminology used to describe camera lenses. However, in
most Film, a wide variety of lenses are used to prevent distortion, and most of the time wider angle lenses are used to help the picture
feel large and enveloping.

"The film combines the use of natural perspective and extended takes, which has the effect of limiting
our gaze to what is being observed from the point of view of a notional (but invisible and ineffectual)
observer…”
Caputo, D. (2012)

Lenses in Repulsion tend to be narrower angle, especially around Carole. This has the opposite effect to wide angle lenses; giving the film
a more claustrophobic feeling, and restricting the information on screen only to what a single person might actually be able to see at any
particular moment.
In a sense, this withholds information from the viewer, making us feel somewhat blind, and vulnerable to what might be just out of
frame, in our ‘peripheral vision’.

Polanski (The director), avoids frequent cuts, and tends to prefer smooth camera movement in long shots. This helps immerse us in the
idea that we are watching from the perspective of a real person.
"Carole's nose and lips seem disproportionately large, an effect that comes as the result of using of a 'normal' lens at
close range, which distorts the dimensions of the face, much like the human eye does at this distance. A more
'flattering' choice would have been to use a 100mm lens with the camera twice the distance away, which would have
filled the frame with Carole's head equally well..." Caputo, D. (2012)

Fig. 1 Fig. 2

The chosen lens not only simulates human field of vision, but also the focal length of the eye. Focal length is a strange attribute of all
lenses which can change the apparent ‘flatness’ of an image, and how close we feel the subject.

In close up shots for many Films, a camera with a longer focal distance placed further away is preferred, because it distorts the actors
faces less. Above, you can see how lenses placed at the same distance from a subject distort features based on their focal length.
(See https://i.imgur.com/XBIOEvZ.gifv)
 Fig. 3

In ‘Repulsion’, Polanski frequently uses a lens with a short focal distance, similar to that of the human eye, for close up shots of Carole.
This not only distorts her features in an unflattering and uncomfortable manner, it also contributes to the impression that the camera
represents the perspective of a real person.

In the shot pictured above, not only does the camera move fluidly towards the bed and appear to ‘mount’ Carole, we truly feel as if it
represents someone’s face pressed up uncomfortably close against hers.

…With the camera placed at the same distance from the action as this voyeur and by using a lens with a principal
focal length that approximates the human visual field, the perspective of the human eye at that distance is mimicked.
The goal is simply to limit as much as possible the work done by the brain to make sense of the image by furnishing it
with the type of perspective that it expects" Caputo, D. (2012)

Caputo; a film psychologist, theories that these factors greatly enhance the immersion of the film by feeding the brain images it expects
to come directly from the eye. Putting the viewer in the film alongside Carole, and limiting what we can see generates a powerful feeling
of vulnerability and suspense.
 Two; The camera stays within Caroles narrative reach
Inside both of their narrative reach
Fig. 4

Outside Outside
Black Spy’s white Spy’s
narrative narrative
reach reach

"At times the camera seems to adopt Carole's exact POV, but normally it retains its observational stance. For the
most part, the camera (and thus the spectator) is tethered to Carole's narrative reach." Caputo, D. (2012)
'Narrative reach' here refers to all of the things within narrative that a character knows about; it’s the incomplete puzzle of the whole
narrative that they have inside their head.
In other films, the camera may be placed in a position that shows us events, people or objects that the shots ‘focus character’ does not
see or know about, because often the director wants the audience to know things that this character does not.

Repulsion does not do this. Whist we do see other characters in their own scenes, when the film is following Carole, the camera stays
within her narrative reach. We never get to peak around a corner before her, or see something scurry behind her in the background that
she doesn’t notice. What we are seeing is a true representation of the world from Carole’s perspective, and there is no invisible narrator
behind the camera giving us visual hints.
This adds to the films Uncanny atmosphere; the information being withheld here being a greater perspective on the narrative that we
often feel intitled to as an audience. But without this advantage, we are without the knowledge to predict or understand the events
unfolding in front of us, and like Carole we are left vulnerable, confused and without warning as to when something frightening might
happen.
 Three; The disobedient camera
"Whist speaking to her sister, for example, Carole stares off screen, presumably at the kitchen wall or ceiling, and
nonchalantly states that 'they must get this crack mended'. The camera does not comply with our wish to see the crack she
is referring to, nor does her sister seem to register what Carole has said. At that moment, we, like Helene, do not know what
to make of this seemingly random statement. It is only in retrospect that we wonder whether the crack was there at all."
Caputo, D. (2012)

Again, in many films, it’s a simple principle that if the focus of the dialog changes to an object or person within the scene, the camera
changes or moves to frame that object.

In Repulsion, the camera does not always do this. A prominent example is when Carole mentions the crack in the wall to her sister. You
might expect the camera to cut or move to show us what she is referring to, but it stays put.

At the time, this statement seems random, and particularly ‘off’ since the camera refuses to show us what Carole is referring to. But in
retrospect, with the knowledge that the physical aspects of the apartment can become distorted through Carole's perspective, we realise
that this was likely the first hint of the presumably imaginary cracks that haunt Carole around the apartment later in the film.

It’s perhaps important that Helene is also in the room, as when other characters enter the scene with Carole, the distortions tend to
become less, as if the Camera is briefly influenced by a more grounded person and takes on a perspective closer to reality. So we can
expect that if the camera were to pan over to the kitchen wall, according to Helene, the crack would not be there.

It’s almost as if the camera is paralyzed in this instant, where two conflicting perspectives are being portrayed simultaneously, and if when
prompted by Carole, it were to move and reveal whether the crack was there or not, this ambiguous perspective would collapse into
either one of the two characters. So it stubbornly stays put, refusing to give us a clear indicator as to who’s perspective we are meant to
be understanding the world from; more-so keeping events in the scene ambiguous, and confusing us further as to what’s real and what’s
Carole's delusions.
 Conclusion
Polanski uses the Camera in ‘Repulsion’ to command careful control over information available to the audience
throughout the film. By limiting us to a human perspective, and not allowing us to see outside of the narrative
reach of characters, the direction of the film is left ambiguous and there’s a strong sense of not having a grander
perspective on the narrative as we might come to expect in other films.
Like Carrol, we are left vulnerable to the wrath of her delusions at any moment, and unable to effectively
distinguish between reality and her slowly encroaching madness.

Men in the 1960s weren’t as progression as the female counter parts

1960s was a revolutionary era for women due to the creation of the contraceptive pill and the increase of liberation
of clothing which is then translated through the characters from the film Repulsion, including Helen who represents
a more 1960s idealised woman while Carole represents the 1950s idealised version of women.

The term Uncanny was developed by Freud and is described as a familiar event that caused discomfort.

The audio, colour and lighting used in the film boosts the feeling of uncanniness.
Illustration List:
• Figure 1 – Sigmund Freud, “ The Uncanny” [book]. Available at: https://www.amazon.co.uk/Uncanny-Penguin-M odern-Classics/dp/0141182377
Last Assessed on: 22 nd November 2018
• Figure 2 – Landlord, Repulsion 1965 [image] Available at http://basementrejects.com/review/repulsion-1965/ Last Assessed: 22 nd November
2018
• Figure 3 – Colin, Repulsion 1965 [image] Available at: https://lassothemovies.wordpress.com/2012/10/10/repulsion-1965/ Last Assessed: 22 nd
November 2018
• Figure 4 – M ichael, Repulsion 1965 [image] Available at: deeperintomovies.net/journal/archives/9423 Last Assessed: 22 nd November 2018
• Figure 5 – Repulsion 1965, Nun scene [image]. Available at: http://storiesforghosts.com/a-look-back-at-repulsion-on-its-50th-anniversary/ Last
Assessed: 22 nd November 2018
• Fig. 1; Carol between sane and insane (2015), at http://4.bp.blogspot.com/-eCiAsCqM Nkw/VdD-
cy1OrYI/AAAAAAAAArI/ZyJoyw12CIo/s1600/Repulsion%2B2.jpg (Accessed on 22.11.2018)
• Fig. 2; Carol (2015), at http://storiesforghosts.com/wp/wp-content/uploads/2015/06/1786_repulsion.jpg (Accessed on 22.11.2018)
• Fig. 3, Caron and Colin (2014), at https://elgabinetedeldoctormabuse.files.wordpress.com/2014/06/repulsion-8.jpg?w=620&h=338 (Accessed on
22.11.2018)
Vintagedancer.com. (2018). 1960s M enswear Outfits | 60s Fashion for Guys. [online] Available at: https://vintagedancer.com/1960s/1960s-
menswear-clothing-fashion-ideas/ [Accessed 22 Nov. 2018]. Fig 1: https://petapixel.com/2011/11/07/a-striking-look-at-how-focal-length-affect-head-
shots/

Fig 2: https://www.dentalphotomaster.com/macro-lens-60mm-or-100mm-which-one-is-better/
Fig 3: (‘Repulsion’)
Fig 4: https://steamiowacity.org/event/spy-camp-spy-vs-spy/2018-08-13/
Harvard Illustrations List
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women-moved-1950s-Swinging-Sixties.html Last accessed 22/11/2018.
Figure 2- 1950s Women’s Fashion - C. Leaper. (2017). The biggest 1950s fashion style moments that defined the decade Read more at
https://www.marieclaire.co.uk/fashion/1950s-fashion-icons-fifties-style-moments-in-pictures-81397#7xHvxbJYTM xkpTM 4.99. Available:
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Figure 3- M iniskirts in 1960s Britian Culture. (2016). How The Invention Of The M ini Skirt Shook Up The 1960s. Available: http://groovyhistory.com/how-the-
invention-of-the-mini-skirt-shook-up-the-1960s/1 Last accessed 22/11/2018.
Figure 4- 1960’s Contraceptive Pill C. Early. (2017). December 4, 1961: Birth control pill becomes available on the NHS for first time. Available:
http://home.bt.com/news/on-this-day/december-4-1961-birth-control-pill-becomes-available-on-the-nhs-for-first-time-11363947767084. Last accessed
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1965. Available: https://flashbak.com/lower-east-upper-west-new-york-city-street-photographs-jonathan-brand-1957-1968-396229/yvonne-fumeaux-and-catherine-
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Figure 6- Helen Repulsion (1965) N. Hendry. (2015). Repulsion (1965) 50th Anniversary – Part 2 – Catherine Deneuve + Ian Hendry + John Fraser + Yvonne Furneaux
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Figure 7 Carol Repulsion (1965) - Deutsche Kinemathek. (2010). Repulsion. Available:

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