By Michael Walker
Combing via all fifty-two extant function motion pictures and consultant episodes from Hitchcock’s tv sequence, Walker lines over 40 motifs that emerge in habitual items, settings, character-types, and occasions. no matter if the loaded which means of staircases, the symbolic prestige of keys and purses, homoeroticism, guilt and confession, or the position of paintings, Walker analyzes such components to bare a fancy internet of cross-references in Hitchcock’s paintings. He additionally offers complete awareness to the wider social contexts within which the motifs and topics are performed out, arguing that those interwoven parts upload new and richer depths to Hitchcock’s oeuvre. a useful, encyclopedic source for the coed and fan, Hitchcock’s Motifs is an engaging learn of 1 of the best-known and so much renowned movie administrators in history.
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Additional resources for Hitchcock's Motifs (Film Culture in Transition)
From Vertigo onwards, all of the major Hitchcock blondes except Janet Leigh are lefthanded: Kim Novak; Eva Marie Saint; Tippi Hedren; Barbara Harris. In kin Plot, reverting to stereotype – and explicitly contradicting Molly Haskell – it's the brunette who's ‘bad’; the blonde who's ‘good’. even supposing Hitchcock nonetheless indicates trouble for Fran – she used to be seduced into turning into a legal by way of the psychopathic Adamson; she turns into so much disenchanted whilst the latter shows that he intends to homicide Blanche – she doesn't quite redeem herself, and so she is obliged to percentage within the villain’s punishment: locked with him within the mystery kidnap room. basically on the very finish of his occupation does Hitchcock play out the blonde/brunette competition in archetypal phrases: the ‘bad’ brunette locked away under; the ‘good’ blonde floating up the steps – followed through an angelic choir, no much less – to a contented finishing (Ø STAIRCASES). Blondes, brunettes and violence Molly Haskell’s different significant element concerning the blondes is they are ‘punished’ greater than the brunettes, which definitely does appear to be the case. From the tried rape of Alice in Blackmail to the homicide of Brenda in Frenzy blondes were Hitchcock’s such a lot usual sufferers. As censorship regulations secure, so those scenes of violence develop into extra specific, extra violent, extra 84 Hitchcock’s Motifs lengthy. In such instances, it's not lots Hitchcock as director trying to holiday down the glamour and reserve as subjecting his heroines and different younger women to a chain of brutal violations. probably the reason for this is that Hitchcock sought after the heroine in every one model of the fellow Who Knew an excessive amount of to be blonde: within the drawn-out suspense of the Albert corridor climax, the focal point could then be on a blonde in a nation of excruciating agitation. Such considering is not only limited to Hitchcock. as a result of the overvaluation of the blonde in well known mythology, it should appear that there's extra of a frisson in placing a blonde at risk. within the well-known monster movies of the early s, for instance, the heroine is generally blonde: Helen Chandler (Dracula, ); Mae Clarke (Frankenstein, ); Miriam Hopkins (Dr Jekyll and Mr Hyde, ); Fay Wray (King Kong, ). however, this doesn't account for the specifics of the threats to Hitchcock’s blondes. Brunettes undergo in addition in Hitchcock, however the examples we see are much less widespread and usually much less severe. except Miriam’s homicide in Strangers on a educate – an exception, given that she is a unprecedented instance of an unsympathetic younger girl in Hitchcock – these i'd contain are Lina’s cliff-top force in Suspicion (Ø HEIGHTS AND FALLING), Charlie being manhandled via her uncle as he prepares to throw her off the teach in Shadow of a Doubt and Juanita’s homicide by way of Rico Parra in Topaz (for either those Ø Held wrists less than HANDS). nevertheless, each one of those final 3 assaults – in contrast to the blonde examples – is enacted via a guy who's emotionally with reference to the heroine (husband; uncle; lover), in order that her worry is compounded by way of the violation of the emotional belief.