By Michael Walker
ISBN-10: 1423746295
ISBN-13: 9781423746294
ISBN-10: 9053567739
ISBN-13: 9789053567739
Alfred Hitchcock’s motion pictures are well known internationally, and a mountain of literature has distinct likely each side of them. but remarkably few reports have exclusively considering the habitual motifs in Hitchcock’s motion pictures. Michael Walker treatments this spectacular hole in Hitchcock literature with an cutting edge and in-depth examine of the sustained motifs and issues threaded via Hitchcock’s complete physique of work. Combing via all fifty-two extant function motion pictures and consultant episodes from Hitchcock’s tv sequence, Walker strains over 40 motifs that emerge in ordinary gadgets, settings, character-types, and occasions. no matter if the loaded that means of staircases, the symbolic prestige of keys and purses, homoeroticism, guilt and confession, or the function of artwork, Walker analyzes such components to bare a fancy internet of cross-references in Hitchcock’s artwork. He additionally supplies complete consciousness to the wider social contexts within which the motifs and issues are performed out, arguing that those interwoven components upload new and richer depths to Hitchcock’s oeuvre. a useful, encyclopedic source for the coed and fan, Hitchcock’s Motifs is an engaging examine of 1 of the best-known and so much popular movie administrators in historical past.
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Additional info for Hitchcock's Motifs (Amsterdam University Press - Film Culture in Transition)
Sample text
Just as the moments in the film when she reacts to the colour red are registering the threatened return of the repressed memory of the sailor’s blood, so the bed scenes register the threatened return of her childhood sexual fears. The overt Freudian nature of the subject matter means that it is Marnie’s body which is the primary conduit for the repressed material. In both Rebecca and Marnie, the bed scenes dramatise the sexual problems in the marriage: in the former through the emphasis on Rebecca’s power (it’s as if she has usurped the sexual role in Manderley); in the latter through tracing the repercussions of the heroine’s own disturbed sexual history.
This is Marnie’s abiding memory of her mother – almost a witch-like figure. Marnie has a number of links with Rebecca: the focus on the heroine; early scenes with her mother (figure); her meeting with the rich, upper-class hero (in both films a widower), which leads to a highly improbable proposal of marriage; the honeymoon; the return to the hero’s family mansion, where a hostile female figure from the first wife’s past is in residence (in Marnie, the figure is Lil, Mark’s sister-in-law, who has her own designs on him).
And this, together with the nature of the childhood trauma, has repercussions for the heroine’s own sexuality. In killing the sailor, Marnie in effect enacted the Oedipal crime of patricide. ) But the crime relates to the negative Oedipus complex (to use Freud’s loaded term): it was the father figure who was killed by the daughter, not the mother. Moreover, 42 Hitchcock’s Motifs it’s as if she killed him so that she would no longer be displaced from her mother’s bed. This suggests that the lesbian overtones should also be extended to Marnie herself.
Hitchcock's Motifs (Amsterdam University Press - Film Culture in Transition) by Michael Walker
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