The David Lynch film Blue Velvet

In the unfolding of the scene, Dorothy receives a telephone call. Her lack of spot erodes even further in this exchange of conversation, beca drill we see in that location is someone much darker in nature than Jeffrey who holds force-out over her. Dorothy is at the mercy of the caller to speak with her son. This robs her of not just her knowledgeable power unless her power as a mother as well. Therefore, at this point in the film Dorothy is both physically and psychologically powerless. However, once Dorothy emerges from the shower, the bare-assed form will be employ to signify a shift in power dealings among the characters. Dorothy comes out from her shower in a blue velvety robe, holding a knife. The camera shows us just adequate of her au naturel(p) form for us to k instantly she is sleek over defenseless and exposed. She opens the pressing door and discovers Jeff hiding there. Suddenly, through the naked form, there is a transfer of power. Yielding the knife, Dorothy makes Jeffrey get undressed. He strips dump to his boxers. Dorothy presently has power over Jeffrey's naked form, something she cements by personally removing his boxers. When she asks Jeffrey what is last name is, he says "Jeffrey nothing," (Lynch 1986).

Dorothy continues to wield the knife as she orders Jeffrey not to look at her while she examines his naked, powerless form. still though Dorothy's nudity is exposed, she holds the power because of the knife over Jeff's naked form. Dorothy orally pleasures Jeffrey. At this point th

ere will be another power shift among characters and an account of characterization when hot dog Booth knocks on the door. Frank is a dark, evil populace with bizarre sexual tastes. Frank is the patch who was on the telephone. Before she lets Frank inside, Dorothy makes Jeffrey return to the insistence.

This shows he is still under her power, but once he goes inside the closet he regains a measure of power by now being able to view Frank without Frank's knowledge. However, through the use of different camera angles, we understand that Jeffrey is in a stark position. While he may have a leg-up on Frank at this point in terms of power relations, from his perspective we know that Frank is a violent man and should he discover Jeffrey it is likely that power advantage will shift. It is the use of different camera angles and perspectives that help Lynch repay his themes while building tension in the viewer.

Outside the closet there is another power shift. Dorothy has now relinquished her power over Jeffrey and submits herself to Frank's power. When Dorothy says "Hello, baby," Frank replies, "Shut up! It's Daddy, you shithead! Where's my bourbon?" (Lynch 1986). Frank makes Dorothy expose herself by spreading her legs. Frank then way out to violently abuse Dorothy as he rapes her. He is now the dominant one with total power over her naked form. Jeffrey now views Dorothy's submission while Frank has physical and sexual dominance over her. Dorothy cannot control the power relations because of her
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