In the movies I will be dealing with, this fixed point tends to be male desire. However much these (male) directors try to thwart, detour, or sublimate the (female) face, their interest in framing and deframing it only shows the extent to which it determines their grammar. Far from a comfort or sought-for goal, the face may be a source of anxiety, for which the hair provides a fetishistic stand in (or vice-versa). In any case, the hair becomes a projection surface and a way to trick vision: to both see and not see the woman at once. But this trick of vision is utilized not as a way to keep viewers from perceiving the "reality" of these women characters, but rather to trick us out of the habit of perceiving these characters as they exist for others--it allows us to see their virtual dimensions.