Fear Of Entrapment In The 1960's
Both sexes were uncomfortable with the middle-class suburban life. When male characters protested their discomfort vocally like Kerouc’s Sal Paradise expressed his fears of being tied down to home and family, Nabakov’s Humbert Humbert projects his disdain for the generic New England suburb of Ramsdale onto the empty bourgeois tastes of Lolita’s mother Charlotte Haze. Even though Humbert is a European with proclivity for young girls, his response was far from untypical (Halliwell 61-62). Male fears of entrapment were often projected onto women leading the critic Josephine Hendin to note that this led to creation of “perverse drama[s] of sexual power and victimisation” (Hendin 88). John Updike and Richard Yates writing in 1960s had ample critical distance to reflect back on the decade with greater insight into pressures on the formation of gender
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Male fears of entrapment and shift in gender roles were projected in Hitchcock’s films like The Shadow of a Doubt, Strangers on a Train, The Man Who Knew Too Much, I Confess, Rear Window, Vertigo, North by Northwest, The Wrong Man
Male fears of entrapment and shift in gender roles were projected in Hitchcock’s films like The Shadow of a Doubt, Strangers on a Train, The Man Who Knew Too Much, I Confess, Rear Window, Vertigo, North by Northwest, The Wrong Man