One crucial element in Blackmail is Hitchcock's use of art within the film. Not only his formal technique but also incorporating the arts into the plot of the film. He uses art within the film to further develop central themes, and in Blackmail specifically, the character as an object rather than a subject. In the film, the paintings and fine art works become an added character to the film. They witness the attempted rape, the murder, and, finally, the chase of the blackmailer in the British Museum. Their images comment on the action. The jester in Crewe's studio mocks not only Crewe but Alice especially. The jester's pointing finger and mocking stare add shame to the viewer. Shame to Crewe for raping women and shame to Alice for being a victim. The shame so affects Alice that she stabs it as well.

The jester as a representation of shame adds to the feminist interpretation of Blackmail. Hitchcock clearly points out and addresses the issue of shame in sexual abuse. By acknowledging Alice's shame and her aggression towards the portrait, Hitchcock empowers Alice.