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[...] the film opens with the woman as object of the combined gaze of spectator and all the male protagonists in the film. She is isolated, glamorous, on display, sexualised. But as the narrative progresses she falls in love with the main male protagonist and becomes his property, losing her outward glamorous characteristics, her generalized sexuality, her show-girl connotations; her eroticism is subjected to the male star alone. By means of identification with him, through participating in his power, the spectator can indirectly possess her too.
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