The only two shots shooting her from high angle is when she¡s questioned by the judge in court and she¡s gazing her husband for rejoining the family again in the end. Plus those constantly close ups of her face with indifferent eyes all apparently indicates her aloofness and detachment except for her son, while in the Desperately Seeking for Susan most Madonna¡s shots are packed up with some quick cuts of focus on her spicy body with fire in her eyes for searching something dazzling, like glittering shoes, gold earrings, etc.. While they all appeal to audience in same visual and sensational pleasures, the camera movements create different perspectives for Marlene Dietrich and Madonna. Marlene¡s high angle shot indicates her relative superior position to male characters and Madonna¡s ¡§body¡ sequences carries one contradictory message, female body freedom or female body spectacle. The crucial reason is because that Marlene presents it by not looking sexy but being sexy and Madonna does it by looking sexy in dressing less and exposing herself.
             Though in the opening sequences of the Blonde Venus begins with the naked blondes¡ swimming, what audiences enjoy watching is not the stripped body itself but the way it is presented. The art is in seeming. This pattern carries tremendous pleasures through the Blonde Venus, we appreciate Marlene¡s legs from the perspective of identifying
             with the sense of beauty rather than actual sexually desire. Marlene is positioned as a sexual subject rather than sex object in the Blonde Venus. Audiences expect to see what¡s she going to do or what happen to her next not which part of her body she¡s going to expose. She¡s being viewed and identified as sexy figure not a spectacle of sex.
             Mise-en-scene is also important for Marlene Dietrich¡s role-playing, especially costumes. Marlene¡s cross-dressed figure is constantly showed in the films. Whether with top hats ...