Laura Mulvey has theorized that in narrative film, shots issuing from a protagonist's point of view compel viewers to identify with the character. Such identification is heightened by "invisible editing," or editing so inconspicuous that it renders cuts between shots almost unnoticeable. Conversely, Mulvey proposes that conspicuous editing or an absence of point-of-view shots would induce a more critical stance toward a protagonist. Consider, for example, the title scene in Alfred Hitchcock's The Birds, a conspicuously edited sequence of tens of shots, few of which correspond to the protagonist's point of view. According to Mulvey's logic, this scene should affect viewers by ________

Which choice most logically completes the text?