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The Given of Vertigo “Fetishistic scopophilia,” as Laura Mulvey writes in Visual Pleasure and Narrative Cinema, “can exist outside linear time as the erotic instinct is focused on the look alone.”(Visual and Other Pleasures p.19) Existing outside of the flow of time, capable of capturing perfect erotic moments, purely visual; the photograph is the perfect fetish of scopophilia. Through Marcel Duchamp’s Given: 1) The Waterfall, 2) The Illuminating Gas and Alfred Hitchcock’s Vertigo this essay will exam the male and female relationship or position within the act of fetishistic scopophilia and its devastating results. In Vertigo the detective Scottie follows the supposedly unaware Madeline through San Francisco. In shot-reverse-shot fashion the audience sees Madeline through Scottie’s eyes. Take for example the cemetery of Mission Delores. The frame captures Scottie looking straight ahead, a tight frame leaving small slits of unfocused cemetery space to each side of his stare (shot). Madeline looks down at a tombstone the side of her face pierced by Scottie’s look (reverse shot). Madeline leaves and Scottie is brought back to reality. He rushes over to a crisply focused tombstone bearing the name Carlot