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Hitchcock's Motifs (Amsterdam University Press - Film Culture in Transition) PDF

493 Pages·2006·4.68 MB·English
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* pb ‘Hitchcock’ 09-09-2005 13:17 Pagina 1 FFIILLMM FFIILLMM Among the abundant Alfred Hitchcock litera- ture, Hitchcock’s Motifshas found a fresh angle. Starting from recurring objects, settings, char- H acter-types and events, Michael Walker tracks I CCUULLTTUURREE T CCUULLTTUURREE some forty motifs, themes and clusters across C H the whole of Hitchcock’s work, including not C only all his 52 extant feature films but also IN TRANSITION O IN TRANSITION C representative episodes from his TV series. Con- K nections and deeper inflections that Hitchcock ’S HHiittcchhccoocckk’’ss fans may have long sensed or suspected can M now be seen for what they are: an intricately O T spun web of cross-references which gives this I F unique artist’s work the depth, consistency S MMoottiiffss and resonance that justifies Hitchcock’s place as probably the best known film M director ever. I C The book can be used as a mini-ency- H MMIICCHHAAEELL WWAALLKKEERR A clopaedia of Hitchcock’s motifs, but the in- E dividual entries give full attention also to L the wider social contexts, hidden sources W A and sometimes unconscious meanings L K present in the work and solidly linking it to E its time and place. R Michael Walker is an independent writer. On the editorial board of Moviemagazine, he has contributed to The Movie Book of Film Noir(1992) and The Movie Book of the Western(1996). ISBN90-5356-772-0 9 789053 567722 AAmmsstteerrddaamm UUnniivveerrssiittyy PPrreessss AAmmsstteerrddaamm UUnniivveerrssiittyy PPrreessss WWW.AUP.NL Hitchcock’sMotifs ’ Hitchcock s Motifs Michael Walker Cover illustration: (front) To Catch a Thief: Food motif. The picnic: Francie (Grace Kelly)andRobie(CaryGrantshareachicken.(back)posterforToCatchaThief Coverdesign:KokKorpershoek,Amsterdam Layout:japes,Amsterdam isbn(paperback) isbn(hardcover) nur ©AmsterdamUniversityPress,Amsterdam Allrightsreserved.Withoutlimitingtherightsundercopyrightreservedabove,nopart ofthisbookmaybereproduced,storedinorintroducedintoaretrievalsystem,ortrans- mitted,inanyformorbyanymeans(electronic,mechanical,photocopying,recordingor otherwise)withoutthewrittenpermissionofboththecopyrightownerandtheauthorof thebook. ForRobinWood,notonlyaseminalHitchcockcritic,butalsoafriend Contents Acknowledgements 13 Introduction 15 Part I Hitchcock, Motifs and Melodrama Introduction 25 Threemotifs 26 Homemovies  Cigarettecase/lighter  Milk  MelodramaandHitchcock’smotifs 30 Anelaboratedmotif:theBedSceneinRebeccaandMarnie 35 Amelodramaticmotif:hands 43 Diagrammaticrepresentations 46 Overviewofthekeymotifs 50 Part II The Key Motifs BEDSCENE 57 Couplesandbeds  Bedsandthepolice  BLONDESANDBRUNETTES 69 Blondesversusbrunettes  Blondallure/blondiconography  Blondes,brunettesandviolence  Blondes,brunettesandthepolice  8 Hitchcock’sMotifs CAMEOAPPEARANCES 87 Cameosandthepolice  CHILDREN 98 Children’scameos  Familymembers  Childrenandviolence  Childrenandthepolice  CONFINEDSPACES 111 Bathroomsandwashrooms  Confinementandconcealment  Cagesandbars:fearsofimprisonment  Washroomsandthepolice  THECORPSE 123 Theheroines  Theheroes  Thevillains  Corpsesandthepolice  DOGSANDCATS 142 Dogsandthepolice  DOUBLES 146 Doublesandthepolice  ENDINGSANDTHEPOLICE 154 ENTRYTHROUGHAWINDOW 158 Entrythroughawindowandthepolice  EXHIBITIONISM/VOYEURISM/THELOOK 164 EXHIBITIONISM/VOYEURISM  SPYFILMS/THELOOK  Exhibitionism,voyeurismandthepolice  FOODANDMEALS 179 Foodandmarriage  Foodandsex  Foodandmurder  Contents 9 Foodandguilt  Chickensandeggs  Tabletalkandfascism  Foodandthepolice  GUILTANDCONFESSION 201 Catholicovertones  GuiltandHitchcock’svillains  Transferenceofguilt  Guilt,confessionandthepolice  HANDCUFFSANDBONDAGE 214 HANDS 220 Malehands/femalehands  Heldwrists  Damagedhands  Holdinghands  Handsandthepolice  HEIGHTSANDFALLING 238 Heights,fallingandthepolice  HOMOSEXUALITY 248 Criticalpositions  Gayundercurrents  Espionageandthelook  IvorNovello  Homosexualityandthepolice  JEWELLERY 262 Greed  Status  Femaledesire  Femalebeauty/malepower  Malemurderousness  Jewelleryandthepolice  KEYSANDHANDBAGS 269 KEYS  Keysandhandbags 

Description:
Alfred Hitchcock’s films are renowned the world over, and a mountain of literature has detailed seemingly every facet of them. Yet remarkably few studies have solely focused on the recurring motifs in Hitchcock’s films. Michael Walker remedies this surprising gap in Hitchcock literature with an
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