Staumann, Barbara. "Rewriting American Foundational Myths in Alfred Hitchcock's North by Northwest." American Foundational Myths. Ed. Martin Heusser and Gudrun Grabher. Narr: Tubingin, 2002. 201-214.

Call#: Van Pelt Library BL304 .A44 2002

    In this article Barbara Straumann describes what she considers to be an Oedipal journey: escaping from an overbearing mother and two ex-wives and fleeing into the countryside. For her argument, she considers the crop-dusting scene to be of incredible significance. While waiting for clandestine meeting with Kaplan in Northern Indiana, we see Thornhill as somewhat of a lone soldier thrown into the field of battle. This is certainly observed as a crop-duster with a gun barrels down upon him. She also mentions how he is recognizable as somewhat of a cowboy, trapped alone in a dusty field. Extrapolating the belief that he represents a soldier and a cowboy, two traditionally manly jobs, our hero can be understood as a masculine element, single-handedly fighting against the two groups who are fighting against each other.  She sees Thornhill as a character that undergoes great personal growth due to the dangerous situations he is forced into.

    Another argument that she alludes to but does not expand upon in depth is the patriotic undertones embodied by the film. Many elements of the film, from the cowboy imagery in a Midwest corn field, the lone journey into the unknown, to the climactic fight literally on the faces of the U.S. founding fathers convey a sense of independence from oppressing forces and the American way. Hitchcock brought in many different pro-American elements in order to emphasize the ‘Rough Rider' nature of the protagonist, from the Frank Lloyd Wright lookalike house to the daring fight scene on Teddy Roosevelt. The imagery Hitchcock employs serves to heighten the audience's concern for Thornhill, a man who is fighting against foreign spies by embodying the American spirit.

Farber, Stephen, and Estelle Changas. "The Graduate." Film Quarterly 21 (1968): 37-41. JSTOR. UPenn, Philadelphia. 8 Apr. 2008. Keyword: charles webb graduate.

     In this film review of The Graduate, Farber and Changas offer criticism that I have never seen before. Not only do they offer different opinions of the film and its characters, but they also misinterpret symbols. This makes the review interesting to read but not very helpful to someone who hasn't seen the movie. The authors note that after 1960s counterculture films with "teenyboppers and acid heads, The Graduate...tells it like it is." Although Benjamin Braddock is a champion debater, they notice that throughout the movie he has trouble forming simple sentences when talking to adults. The "phoniness of suburban society" permeates the film. The intuitive soundtrack leads us to think that the film contains the same insight as Simon and Garfunkel, but Benjamin cannot even think the same way. They see him as "stupid and awkward, not sensitive and alienated." They also see comedy in the scene where he sees Mrs. Robinson naked as opposed to the serious introspection that these shots give the viewer. To them Ben is insensitive to Mrs. Robinson, and a very shallow character. As far as symbolism goes, the colors black and white are more of a "coloring-book morality play" instead of symbols of the cold values of one society and rebellious values of the other. This use of colors is "a cheap dramatic trick" to discern the two generations. Another interesting criticism of the authors is that they find Nichols inexperienced in filmmaking. The lack of a love story and absence of sexual scenes is a failure in their eyes.

    One criticism that actually manifests one of Nichols' arguments is that the young characters in the movie act too maturely. The critics state that the film "is an insult to young people who aren't so goody-goody." The truth is that the young people are only mature and "goody-goody" because their parents' generation makes them this way. Their value system makes the youth appear and act this way although they are dying to do things differently. Another bad criticism is how they find the scuba diving scene too "self-conscious." The truth is that the critics don't have the intelligence to understand or mention the significance of drowning, unlike Schuth. Nichols certainly knew what he was doing, even though Farber and Changas think otherwise.

Carlson, Shear and Carringer. "Citizen Kane." PMLA, Vol. 91, No. 5 (Oct., 1976), pp. 918-920

In his letter to the editor of the PMLA, Walter Shear argues that Robert L. Carringer’s analysis of Kane’s character in “Rosebud, Dead or Alive: Narrative and Symbolic Structure in Citizen Kane” is overly complex and fails to see the obvious simplicity of the film. Carringer argues that Kane’s personality is a pastiche of the multiple viewpoints of all his closest acquaintances, and that this distorts any seemingly objective display or definitive account of the actual character. Carringer argues his case citing that the only way Kane’s character is revealed in the film is through interviews with close friends, associates and family members. As a result, the character, he argues, is subjected to the various biases of those describing him to the inquiring reporter, Jerry Thompson. Mr. Shear argues on the contrary that Kane’s character is revealed through his desire for people to love him. As Shear cites, “’Love… that’s why he did everything. That’s why he went into politics.’” He states that this relatively simple view can closely describe Kane’s actions and ambitions. Not only does it support Kane’s decision to run into politics; it also justifies Kane’s desire for his paper to have a personal relationship with each one of his readers. He also has multiple relationships in his young adulthood. Shear states that this quest for love could be a search to replace his mother as a source of love in his life. (This being a result of being snatched from his family at too young an age.)

Shear convincingly describes the motives of Charles Foster Kane’s impulses in life – politics, running a newspaper because it would be fun and enthusiastically underwriting his second wife’s singing career – all in an effort to gain acceptance and be adored by the public. With this knowledge in hand, one can very easily watch the film and understand some of the seemingly rash decisions that the character of Kane makes. Who in their right mind, with so many alternatives, choose to run a faltering newspaper “because it looks fun?” With a secure personal fortune and no need to earn money, it would make sense that a person in such a situation would seek to find personal gratification of a love that was never present in childhood.

Bialostocki, J. (1981).Forman's Cuckoo's Nest, its composition and symbolism. Artibus et Historiae. 2, 159-162.

 

In “Composition and Symbolism,” Jan Bialostocki describes the technique and imagery that Forman uses in One Flew Over the Cuckoo's Nest to comment on the social dynamics of groups, and the constant struggle of individual expression versus normative stability.  The article begins by invoking the imagery in Cuckoo's Nest's opening and closing sequences.  The vast landscape that the mental hospital in the film resides in plays an important symbolic role—in the beginning of the film, it is a visual representation of the isolation and confinement of the inmates, while at the end of the film, the image of the Chief running into the distance of the landscape signifies the escape from such a closed world.  Bialostocki also asserts that the isolated psychiatric ward is a metaphor for the human world in general.  Within the confines of this environment, we can observe the facets and problems of human nature, such as the dependence of the inmates on one another and their need to participate in community life.  McMurphy, as a rogue figure, acts as a catalyst for this human nature.  Before his arrival, the inmates are meek and mellowed by the drugs they are taking, and the strictly regulated system they are forced to abide by.  Once he arrives, however, he liberates them from this rigidity, allowing them to release their inhibitions and inciting in them real, human emotions and reactions.  Although freeing, this also introduces conflict to their previously uncomplicated existence.  By pursuing their individual needs and impulses, they in turn sacrifice the order and comfort of the community.  McMurphy's individuality walks the thin line between freedom and anarchy, and eventually results in a tragic finish.  In the end, McMurphy is defeated by the system which beats down dissent, and treats individuals as though they cannot make their own decisions.  Only the Chief is affected and liberated by McMurphy's actions as he makes his escape.  The other inmates return to their formerly grey lives.  Having seen the destruction that human emotion and freedom can bring about, they revert back to the passionless, vegetative comfort of their old system of norms, thus letting go of the of innovation and expression they enjoyed for that short period of time. 
This article is interesting because it brings to light the meaning and symbolism behind this story.  It is not merely a critique of the institution-based mental health system, but a commentary on human society in general.  According to the article, illuminates the problems inherent in society, and the difficult trade-off between group safety and security and individual expression.

In The Art of Alfred Hitchcock, Spoto discusses many of the motifs found in Hithcock’s films. Water is frequently used to symbolize create turmoil, seen in Lifeboat with the stormy uncertain waters. Water also is the impetus for the survivors to rise up against the deceptive Nazi who had hidden his secret supply from the others, even killing to keep it a secret.

Jewelry is also a common Hitchcockian theme. It frequently represents false value. Connie equates her bracelet with good luck, saying that she will never take it off for fear of what would happen. The survivors are only saved, ironically, with her removal of the bracelet and its eventual loss. Hithcock also equates the bracelet with power. Connie is never able to fasten the clasp. Initially, she turns to Kopac for help, but eventually, the Nazi Willie is the only one who can fix her bracelet.

Hitchcock also suggests that transit sparks romance. The Nurse and the Radio officer slowly develop a relationship with him eventually proposing. Sexual tension also exists between Connie and Kopec. The trip also forces Gus to think only about his Rosie back in New Jersey, frequently questioning if he will ever see her again.

Spoto also suggests that the items that pass through the water in the opening represent the film’s main themes: The New Yorker symbolizes a society troubled in its foundation; the chess board symbolizes intellect useless in solving their situation; playing cards represent excessive leisure which allow Willie to successfully cement control over the ship.

While many criticize Lifeboat for its portrayal of Willie as an Aryan superman, Spotto suggests that people would be more offended by his humanity. His singing of German anthems and appreciation of music gives him a quality no one wanted to associate with Nazis. (This humanity is intentional as Walter Slezak who played Willie claimed his character was given curls in an effort to look more innocent.) Conversely, the “rabid pack of dogs” that were the other survivors prove unappealing at the end when they finally organize as one. Americans could only view a Nazi not as human or superhuman but as inhuman.