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This rather longer essay was originally a dissertation; it was eventually published in 1993 in the academic journal Modern and Contemporary France (1(3), 287-95), and was the only substantial academic article on the him until Duffy (2002). Leconte's film is one of the few films to deal directly with the act of viewing (the other major films are mentioned in the course of the essay). It is a remake of Panique (Duvivier, 1946), itself based on a novel by Simenon (Les Fiançailles de Monsieur Hire, 1933). All three tell the story of Monsieur Hire, a quiet, anti-social man, who spies on his neighbour Alice. He witnesses a murder, by Alice's boyfriend. Monsieur Hire becomes the prime suspect. A relationship develops between Alice and Hire when she realises that he has been watching her. He tries to persuade her to leave with him; when she refuses, he lets himself be chased and falls to his death, although he has left proof behind that it was not him but Alice's boyfriend who was the murderer.

The essay, like the two that precede it, is clearly argued and, like the first essay, has a simple ternary structure: theories of the gaze; the gaze is male; but the male is not always in the position of power. The argument is placed firmly within

*© Taylor and Francis Ltd (

Figure 4.3 Monsieur Hire

Image Not Available well-rehearsed debates concerning the gaze, showing how the gaze is not as mono-lithically 'male' as theorists had argued during the mid-1970s. It shows familiarity with those debates, and explains them coherently and clearly.

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