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  *II: Pleasure in the Confusion of Boundaries and Responsibility in Their Construction*   Artists, curators, and museum/gallery teams build the walls to hide ugly computers and assign crew to the...

Oblivious to the male voice talking about her, Bree Daniels (Jane Fonda) continues to dial on the rotary phone. The male voiceover, positioned over a contemplative and anonymous gaze...

Explicit point-of-view (POV) shots are used throughout Klute. For example, twice in the film, the handheld camera looks down through Bree’s skylight, spying on her, oblivious, inside her apartment....

Midway into the film, Bree enters a nightclub. The audience watches her enter from across the dance floor. As dancers cross in front of the camera, it becomes...

Notably, Bree, not the titular Klute, is featured most prominently in the film. We see her in personal, private moments—talking to her therapist, alone in her tiny apartment, walking...

Finally, the sound design also heightens the sensation of intimacy and voyeurism. Much of the film’s narrative centers on recordings: Klute is shown recording Bree, the stalker repeatedly listens...