... The scopophilic instinct (pleasure jn looking at another person as an erotic object), and, in contradistinction, ego libido (forming identification processes) act as formations, mechanisms, which this cinema has played on. The image of woman as (passive) raw material for the (active) gaze of man takes the argument a step further into the structure of representation, adding a further layer demanded by the ideology of the patriarchal order as it is worked out in its favorite cinematic form - illusionistic narrative film.