There are shots which particularly feature, eyes and lips, however the significance of the fragmentation almost hints towards the lack of identity and independence of the women in the film. Within the first scene, it is made clear that the film has been portrayed from the perception of the central protagonist. The use of proxemics is also a clear indication that there is a very male dominated theme throughout the film.
When the central character encounters Judy Barton, the editing techniques used, highlights the use of male gaze; the shots cut between the spectator and the spectacle, suggesting the camera has some male characteristics in the way that it has been used.
In this scene, we see that female character is perceived through the eyes of Ferguson and she is almost portrayed in an angelic manner which is enhanced by the ambiguous use of lighting; as she first emerges from the bathroom her identity is almost concealed in a shroud of soft and hazy light.
Once again, the use of shot reverse shot has been incorporated as a technical indication of the male gaze. In addition to this, it is enhanced as the shots range from mid shots, to close ups of both subjects, developing intimate connotations.
Another theory that can be applied to this film is Lacan's theory of lack. John Ferguson is faced with a grasping desire to attain the love of Judy Barton. This soon turns into an obsession, which is foreshadowed within the opening credits of the film. There is a close up of an eye from the very onset, suggestive of fixation in some form. This is cleverly enhanced by the manipulation of colour; a red filter is used to connote towards love and danger, both key aspects in relation to obsession.
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