Hitchcock's Vertigo, the missing underwear
example · film: Vertigo ·
retold in 9 talks
In the scene where Scottie brings Madeleine home, the Hays Code blocked showing actual underwear above the kitchen sink. Žižek points out the censors were not protecting viewers (who assume underwear anyway) but the virtual gaze of the big Other.
≤2000talks it is told in, per year2026
As told 8
“Whom were the Hays Code censors trying to protect? Not us. Every spectator automatically assumes that what he sees is the underwear.”
“I told them the spiritual gain of you the city city of San Francisco is that Hitchcock shot Vertigo there.”
“'I was born here, no, Kant Critique of Pure Reason and I died here and before and after are echoes'”
What it carries
one story, many jobs: the ideas this anecdote is deployed to argue, one tally mark per use (an idea page shows the same relation from the other end, as its shelf of stories)
Its cast and sources
populated by
Julius Rosenberg2Paul Robeson2Ágota Kristóf2Josip Broz Tito3Gayatri Chakravorty Spivak2Mary Shelley2Père Joseph (François Leclerc du Tremblay)2Lavrentiy Beria2
alongside works
Every retelling 8
In the scene where Scottie brings Madeleine home, the Hays Code blocked showing actual underwear above the kitchen sink. Žižek points out the censors were not protecting viewers (who assume underwear anyway) but the virtual gaze of the big Other., illustrating the big Other,unknown knowns,virtual belief
Žižek tells his San Francisco audience that the spiritual gain of their city is that Hitchcock shot Vertigo there, meaning is produced in history through retrospective attribution, however crazy it sounds., illustrating retroactivity of truth
Madeleine points to the cut on a tree and says 'I was born here, I died there.' Žižek uses this as his personal philosophical autobiography: born with Kant's Critique of Pure Reason and dying there, with everything else as echo., illustrating Kant / idealism,philosophical autobiography
The panning shot in Vertigo shows abstract cloth above the sink that viewers read as underwear under the Hays Code; like the Beria encyclopedia, the big Other is maintained for no actual person, viewers automatically complete the illusion., illustrating big Other,appearances,ideology and cinema
In Vertigo, what viewers automatically read as Madeleine's drying underwear is actually just abstract cloth, the Hays Code required this, yet viewers still see underwear, revealing the big Other as the virtual gaze that must be satisfied., illustrating the big Other,censorship,appearance and reality
In Vertigo, a long panning shot shows what appears to be Madeleine's underwear drying, but freeze-framing reveals only abstract pieces of cloth, to satisfy the Hays Code censor. The censor wasn't protecting the audience (who assume underwear anyway) but the big Other of the censorship institution., illustrating the big Other,ideology,Hollywood obscene supplement