The article compares the ideology behind the films by Stanley Cavell and Alfred Hitchcock. It focuses on the relationship between doubt and romance and what Cavell calls “the truth of skepticism”. Hitchcock is presented as a counterexample of this claim made by Cavell about the ambiguity of truth in relationships. In fact, the depiction of romance in Hitchcock’s work makes us question Cavell’s philosophy. The article explores other issues such as faith and exemplifies the arguments using a breadth of Hitchcock films.

    Hitchcock’s constant exposition of the mutability of romance and the doubt in relationships is highlighted throughout the article. L.B. Jeffries relationship with Lisa Freemont this is particularly helping information, especially in respect to Jeffries’ cold and reserved attitude towards Lisa. The article informs us that this is a common issue in Hitchcock relationships as the detached male character is forced to confront his feelings towards a woman due to an unrelated event, in this case, the murder of Mrs. Thorwald. Robert Allen explains the characteristics common to almost every Hitchcock character, relationship, or plot for which an element of romance is involved.

Brandell, Jerrold R. "Eighty Years of Dream Sequences: A Cinematic Journey Down Freud's "Royal Road." American Imago 61.1 (2004): 59-76.

Brandell’s article looks at Secrets of the Soul, Spellbound, David and Lisa, and 12 Monkeys and analyzes each film’s treatment of psychoanalysis specifically relating to the interpretation of dream sequences as an extension of the different times’ approaches and attitudes towards psychoanalysis. Brandell is specifically interested in looking at the possibility that specific cultural events or attitudes could have shaped the depiction of psychoanalytic treatment in film. In addition to attitudes, Brandell also explores whether advances in technology changed the way that filmmakers approached the representation of the psychoanalysis of dreams. After investigating the depictions of psychoanalysis in each film, Brandell comes to the conclusion that the representations of dream sequences have little to do with the technological capacity of the time in which each film was created. Instead, he argues that the each film was more influenced by historical events and that social attitudes, not technological innovations, dictated the depictions of dream sequences and psychoanalysis.

Ultimately, Brandell concludes that the portrayal of “Dr. Edwardes’ ” dream sequence is based less on the technological resources of Salvador Dali, and instead is shaped by what people’s position on psychiatry and psychoanalysis was at the time. Brandell argues that this position had been greatly affected by the influx of veterans with various forms of posttraumatic stress disorder returning home from World War II. Like John Ballantine, who witnessed the traumatic death of the real Dr. Edwardes, the depiction of his treatment argues that through psychoanalysis patients can work through their trauma and ultimately “open the doors” to their memories and the subconscious, allowing them to be cured. At the end of the film, John Ballantine escapes the memories that haunt him by successfully completing psychoanalysis with the help of Dr. Peterson. Perhaps the film intends to argue that like Ballantine, the generation of soldiers traumatized after a difficult war could also be “cured.” Spellbound’s representation of psychoanalysis is in many respects inaccurate, but is consistently hopeful.

Erb, Cynthia. "'Have You Ever Seen the Inside of One of Those Places?': Psycho, Foucault, and the Postwar Context of Madness." Cinema Journal 45.4 (2006) 45-63.

Erb's article examines the post World War II phenomenon of deinstitutionalization. Occurring after several exposes brought to light the poor conditions and decrepitude of mental institutions as well as several films that featured institutions in a negative light, deinstitutionalization came about because of both the financial pressures that were acknowledged by the federal government and the moral questions that were raised by the public. The shifting attitude toward institutionalization was also affected by the influx of veterans with traumatic stress disorders and acquired nervous conditions after World War II. The idea that many people in society were afflicted with mental disorders, not only a select few, dramatically changed the perception of mental illness within the United States.

Erb goes onto argue that while films like Spellbound use mental illness as a tool to advance the plot and feature mental afflictions that are easily “cured” within the course of the film, Hitchcock’s later works The Wrong Man (1956), Vertigo (1958), and Psycho (1960) all address mental illness and instability as something that cannot be cured and that remains with people beyond the duration of films. This idea of extending the boundaries of mental confusion not only applies to the direct portrayal of mental illness within Hitchcock’s films, but also to the treatment of surrealist sequences and motifs within Spellbound and Psycho. Like the treatment of mental illness, Erb notes that the use of surrealism in Spellbound is also completely contained to a single sequence. It begins and it ends and after the specific sequence has finished, surrealist dream sequences never again plague the afflicted John Ballantine. However, in Psycho, a later Hitchcock film, there is no contained surrealist sequence. Instead, several surrealist images sporadically appear throughout the film. Through his evolving treatment of both mental illness and surrealism, Hitchcock reflects the public’s shifting view that mental illness is not easily contained or cured.

In Spellbound (1945), Alfred Hitchcock creates a world of suspense that follows the story of Dr. Constance Peterson and John Ballantine's search for the truth behind both his identity and the disappearance of Dr. Anthony Edwardes. The cat and mouse games move the plot forward. However while Peterson and Ballantine search to discover his identity, other issues of identity and mental clarity come to the forefront of the audience's mind. This group of readings seeks to look at the issues of identity and the mind within the film. Themes that have emerged are Dr. Peterson's portrayal of female identity as she navigates a male-dominated world, the issue of Ballantine's identity as an extension of Freud's theories of Psychoanalysis, and finally the role of the surrealist dream sequence within the film and within the Hollywood system.

McGilligan, Patrick. . Alfred Hitchcock : a life in darkness and light / Patrick McGilligan. 1st ed. 006039322X series New York : Regan Books, c2003.
Call#: Van Pelt Library PN1998.3.H58 M38 2003

    In Part 5 (Paramount: The Glory Years) chapter 15, the author describes the process by which Hitchcock decided on the actors that he chose to star in the film. Originally, James Stewart had be slated for the role of Thornhill, but due to the poor performance of Vertigo in the box office it was unclear whether Hitchcock and the studio could justifiably use him instead of Cary Grant. Stewart was an immensely popular actor, but not considered sexy enough for the role. By using Grant who appeared younger, the studios were happy because there would be a greater draw for women to see the film and Hitchcock was happy because he signed a lead actor whom the audience would have more emotion invested in. Hitchcock next arrived at the task of picking the female lead. He rejected the studio's suggestions and chose Eva Marie Saint, a well regarded actress but not regarded as exceptionally sexy or mysterious. Hitchcock hoped to mold her and give her a specific role. James Mason comments on this, accusing Hitchcock of using his actors as "animated props".

    The choice of actors in a film a critical first step towards creating the desired output. Despite Hitchcock's often firm hand in micromanaging the details of each shot, the actor has a great deal of responsibility and artistic license in the way they portray their character in the film. Hitchcock made his decisions based on the overall effect upon the audience. Thus, careful selection of each actor was an important prerequisite for achieving his desired outcome in each shot. The decisions made however led to great success. The strength of the movie rests on the audience's concern for Thornhill's successful resolution of the dangerous challenge he was forced into, and also of Eve's safety as she plays the role of secret agent to the enemy spy. While casting the correct actor into a role is critically important, it can also be argued that massaging that actor into the desired character during filming is of equal importance. If the character is not playing the part as envisioned, the director essentially loses control over his tool he uses to manipulate the emotions of the audience.  Hitchcock not only carefully screened his actors, but was also known for his adept manipulation of their skills into the finished product he himself desired.

Lehman, Ernest. "Screen Writer's Recipe for 'Hitch's' Brew." New York Times 2 Aug. 1959: X5. Proquest Historical Newspapers. University of Pennsylvania. 7 Apr. 2008.

    This article appeared shortly after the initial release of the film. It was written by the screenwriter, Ernest Lehman, who would later be nominated for an Oscar for this screenplay. Of particular interest is the way in which he describes his goals before writing the script. Usually, he says, scripts are written without a particular director in mind. With this film however, he knew the finished product would be given life by Hitchcock, who had already reached fame by this point as an unconventional director. Because of this, Lehman said a screenwriter "will try never to be dull; one will try not to shun the bizarre or the macabre or the surprising; one will try to give one's characters a certain amount of sophistication... and one will try never to forget that murder, as well as love-making, is sometimes committed with tongue in cheek".

    Knowing what type of film Hitchcock liked to create undoubtedly changed the formulation of the script. In essence, Hitchcock was already exerting control in the film when it was just in the idea stage, before anything had even been written. Hitchcock's critics often deride his work as being too outrageous and relying heavily on chance happenings, and of course the fact that Lehman was writing the script to please Hitchcock no doubt exacerbated these criticisms. Because the script was written specifically for Hitchcock, it offered him an unusual level of control over it.  Lehman also notes that Hitchcock and he worked together closely to revise the script, up until 20 minutes before shooting scenes in some instances. This close collaboration offered a sense of continuity and eliminated friction sometimes observed in film due to conflicting ideas of two of the artistic talents, the writer and director. It is clear in this article that Lehman considered himself very fortunate to work with such an esteemed director even though he realizes that Hitchcock sometimes modified his work. He is pleased with the outcome of the project, declaring that "Hitchcock has made a silk purse out of a writer's ear."

Drucker, Jerry. "Hays Code: Out-Psyched by Hitch." Los Angeles Times 28 Oct. 1979: w4. Proquest Historical Newspapers. University of Pennsylvania. 7 Apr. 2008.

    When North by Northwest was released, the Hays Production Code still had incredible influence. Any film that did not have the official seal was essentially locked out of the major distribution and exhibition avenues. Only two films had ever bypassed the code and despite their box office successes, few studios were willing to risk losing the seal of approval. The code was incredibly strict involving moral standards, and thus sexual and violent undertones needed to be minimized to ensure the Board's approval. This article was written by an insider who had the opportunity to sit inside the Board's screening room as they watched Psycho. It became immediately clear that strong changes were needed; however Hitchcock was known for being unwilling to compromise his autonomy in filmmaking. Thus a strong negotiation ensued in which certain shots were traded with others until the film eventually passed muster.

    This showdown between the censors and Hitchcock was inevitably an escalation from his previous film North by Northwest. Full of sexual innuendo and provocative scenes, the Board had objections to many of the frequent references to intercourse throughout the film. Hitchcock carefully avoided overt discussion, often substituting the word "love" for "sex", and using imagery to imply action (for example, a shot of passionate kisses cuts to a shot of their train entering a tunnel). The final cut of the film was risqué for the time period, but managed to successfully hide the sexual references from younger and uncultured minds, which was no doubt a critical hurdle for Hitchcock to overcome in order to obtain the seal for the film.  The symbolism and innuendos created require a much more engaged viewer, which ultimately helps to maximize the effects of suspenseful situations.

Hitchcock, Alfred. Interview with Bryan Forbes. BFI. 1967. 8 Apr. 2008 http://www.bfi.org.uk/features/interviews/hitchcock.html.

    This interview begins with thoughtful questions asked by another director who is clearly a fan of Hitchcock's work. Through thoughtful questions, Hitchcock is encouraged to discuss his script-writing process. For example, we learn that Hitchcock planned the Mount Rushmore scene fifteen years prior to North by Northwest, and simply waited for an opportunity to insert the scene. He also speaks of his fan of the montage technique, and how greater emotions are brought forth by the audience's emotional attachment to the actors. Using humor and wordplay, Hitchcock adeptly keeps the interest of the audience as he discusses his thought processes and motivations behind the stylistic elements he is famous for using.  Much of the interview is devoted to specific stylistic decisions in his films, but even these can be viewed as representative of Hitchcock's overall strategy as a director.

    It is clear from this interview that Hitchcock operates in a very casual manner, and despite the widespread belief that he adamantly enforces his own view of the film it appears he is sometimes willing to make concessions. Also, here Hitchcock gives interesting evidence about why he often picks big celebrities to act in his films. Because his beliefs closely resemble the founder of the montage Eisenstein in that the key goal of a montage is to create emotion, Hitchcock insists on using actors that the audience will have an emotional attachment to. He believes that an actor such as Cary Grant will receive greater sympathy from the audience, and thus the heightened emotion will ultimately lead to greater suspense and enjoyment of the moviegoers. It is through this interview that one is offered a rare glimpse into the thoughts of Hitchcock. As is the case with any director, certain parts of his style can be analyzed simply by viewing the films he has created. It is through this, for example, that we are aware of Hitchcock's use of visual impact rather dialogue to drive the plot forward. However, to truly understand him one must venture beyond the work he has produced and instead take a more direct approach to deciphering his beliefs and motivations.

Flint, Peter B. "Alfred Hitchcock Dies; a Master of Suspense." New York Times 30 Apr. 1980. 7 Apr. 2008 .

    This is the actual obituary published by the NY Times following Alfred Hitchcock's death in 1980. Although the article offers no more than a few brief comments about North by Northwest, it talks about many stylistic elements in the film which were hallmarks of Hitchcock's innovative approach. For example, one of the more prominent features of classic Hitchcock style is the emphasis on montage and dramatic imagery over dialogue in developing the story. This article mentions examples of this including North by Northwest's crop-dusting scene in which Cary Grant tries to evade a bullet-firing low-flying aircraft. It was clear that Hitchcock controlled a certain mastery of the camera. The scene, which begins with Grant is waiting for the elusive Kaplan along a long a dusty road in Northern Indiana, effectively demonstrates the suspense that can be achieved using wide shots and apparent isolation. The camera cuts frequently between shots of Grant looking down the expansive road in both directions and extended shots of the never-ending road. Hardly a word needs to be spoken in this scene for the audience to understand the character's frustration and fear.

    Speaking of Hitchcock's style as a whole, the article acclaims his "virtuosity in creating a rhythm of anticipation with understated, sinister overtones, innovative pictorial nuance and montage... and revealing cross-cutting of objective shots with subjective views of a scene from an actor's perspective." This style is apparent throughout the film, but its power is best seen before and during the crop-dusting sequence and also in the fight on the faces of Mount Rushmore. Furthermore, Hitchcock oftens breaks from established convention in order to convey his message. For example, on the empty highway Hitchcock repeatedly breaks the 180-degree rule in order to display the surroundings and prove Thornhill's complete isolation from others. The works Hitchcock created are not only a great piece of cinematic history in their own right, but also in the lasting impact they have imparted on other filmmakers and their works. Hitchcock's legacy in film is a natural byproduct of his unique style over many great films during his lengthy career.

Cavell, Stanley. "North by Northwest." Critical Inquiry 7 (1981): 761-776.

    This article carefully examines many plot elements within the story which are thought to be similar in many ways to other Hitchcock thrillers. The first and most obvious is the casting of Cary Grant into the lead role. The two have worked together several times and Grant had gained stardom in part due to these movies. Hitchcock makes light of his stardom in several occasions, first when Grant is leaving a phone booth and gets stares from a young female, and later when he is walking through a woman's hospital room and she tries to persuade him to stay in a seductive tone. Also, the script does not deny that Grant is an actor. Vandamn frequently comments on Thornhill's acting and even the professor asks him to "play the part". Other plot elements mentioned are Hitchcock's insistence on using ordinary situations and ordinary people for the more suspenseful situations.  This is no doubt a hallmark of Hitchcock's work and imitated wildly in the following decades.

    What is not adequately addressed in this article is that Grant must play the role of the victim. He was thrust into the situation against his will, due to mistaken identity. Unlike his last role with Hitchcock in "To Catch a Thief", Grant's character is that of a law-abiding citizen. A ‘mama's boy', he is thrown into a world totally unfamiliar and being pressured on both sides to perform as any super-agent would. He succeeds in the task, and is ultimately the hero stopping state secrets from reaching the Soviets. Thus, while Grant's character is similar to others he performs for Hitchcock's camera in many respects, ultimately this is a fundamentally different character because he is one everyone in the audience can empathize with.  Because of this, Grant is able to command a stronger control over the viewer.

Hollywood : critical concepts in media and cultural studies / edited by Thomas Schatz. 0415281318 (set) series London ; New York : Routledge, 2004.
Call#: Van Pelt Library PN1993.5.U6 H556 2004

    In chapter 34 of this book, Andrew Sarris attempts to classify and find themes in the works of Alfred Hitchcock. Using frequent references to specific scenes and elements of the films, Sarris argues that Hitchcock is unusually adept at rousing interest from his audience. Furthermore, Sarris believes that Hitchcock never received the visual analysis he deserved, presumably because of the mass appeal of his films. The style is said to be uniting of the divergent classical traditions of Murnau (notably the camera angles) and of Eisenstein (use of montage). The thrillers Hitchcock has produced all require a situation of normality. Hitchcock would never allow a murder to occur in a dark alley, simply because the audience expects that is where a murder should occur. Rather, a situation of normality would be the best place for a murder. Sarris uses the example a clean hotel bathroom in Psycho, but this argument could be applied to the murder at the United Nations, or the fight scene on the faces at Mount Rushmore.

    What Sarris is alluding to, but not declaring outright, is that a thriller must engage its viewer at a visceral level. Any murder that occurs expectedly due to the scenery would not adequately arouse the emotions of the viewer. This is one of the key elements of classic Hitchcock style. Hitchcock refuses to allow plot twists to occur formulaically; he insists on keeping the audience guessing. While this has no doubt added to his popular appeal and the frequency of imitation his works see, it is a concrete example at the ingenuity of the director and why he deserves a prominent place in cinematic history. His refusal to accept the obvious and his thirst for innovative and unexpected events keeps the viewers emotionally engaged in the film, and is thus one of the greatest cognitive tools at his disposal.

Rubin, Martin, 1947- . Thrillers / Martin Rubin. 0521581834 series Cambridge, U.K. ; New York, NY : Cambridge University Press, 1999.
Call#: Van Pelt Library PN1995.9.S87 R83 1999

    The first chapter of this book describes ‘thriller' as a genre that is inherently different from other genres. Usually genres have specific themes and iconography (i.e. saloons, cowboy hats etc.) and a level of general relationships, patterns and structural elements. Thrillers however can take widely varying forms and thus conventional iconographic elements are far from universal in the genre. Thus, to define a thriller one must concentrate on conceptual, relational and structural elements. Playing with visceral emotions rather than cognitive ones, the thriller emphasizes suspense, fright, mystery, exhilaration, excitement, speed and movement. Because there is little standardized convention, the filmmaker is given a large degree of freedom.

    Hitchcock has gained acclaim due to his skill for creating thrillers. He is known for his ability to create suspense and shock when the viewer least expects it. While it is true that Hitchcock's thrillers do defy expectation by relying on emotion, it is ambiguous whether the thriller completely ignores specific themes and iconography. For example, one could argue that a dark alley represents a shady endeavor, and that something bad is about to transpire. Hitchcock is famous for ignoring these canned situations. While the average thriller relies on the rising suspense as a character walks down a dark alley, Hitchcock creates excitement by masterminding plot twists during the audience's period of emotional security, for example during a conversation in the U.N.'s general assembly. By creating a false sense of security and then destroying the illusion, Hitchcock commands an unusually high level of control over his audience. These techniques employed by Hitchcock are considered to be the standard by which other Thrillers should be made, however only a highly skilled director is able to captivate his audience and avoid cliché scenarios while still utilizing the same repertoire (murders, kidnappings etc.) that are often required in this genre.

Henderson, Brian. “Notes on Set Design and Cinema.” Film Quarterly, Vol. 42, No. 1 (Autumn, 1988), pp. 17-28

    Brian Henderson elaborately describes certain key techniques in classic and modern filmmaking by citing examples from famous films such as Citizen Kane, Bringing Up Baby, North by Northwest and Johnny Guitar.  Henderson begins his article by discussing distinctive creators among set designers and production directors in “the latest stage of auteurist dialectic.”  He moves from a comparison of Hollywood set designers to the architectural profession and discusses the value of production stills taken during the filming of movies.  Production stills, though giving a simple and concise summary of the visual set which can preserve our knowledge of the filmmaking, don’t preserve the full knowledge of the filming because no single vantage point can be used to reproduce or understand a set.  A photograph only presents a view from a single angle.  One would need multiple shots from different angles to accurately learn about the styles of different film sets.  Henderson argues that production stills are most valuable simply for publicity purposes – he cites examples of sets from Bringing Up Baby.  The author also describes visual and illusionary techniques in filming, such as the use of large foreground models and miniature background models to simulate depth.  Some filmmakers replace parts of the sets with miniatures that are built to scale or they use devices that create composite images such as rear projection, glass shots, travelling mattes, the Shufftan process, or an optical printer.  Some of these special effects are used to supplement the narrative of the film.  The Shufftan process which uses a semitransparent/semi-reflective mirror can be good at showing before and after images – a technique used in documentary filmmaking.  He also mentions techniques used by Orson Welles in Citizen Kane, and techniques by Alfred Hitchcock.

    Henderson elaborates in some detail the extent of the use of special effects in Welles’s Citizen Kane.  An interview with optical printer, Linwood Dunn, reveals that not very many people know about the extent of the post production work and modifications made to the film.  Many photographic effects used and only a handful of people actually worked on the post production special effects.   Dunn says that special techniques other than advanced hardware had to be used to get the deep-focus shots that Welles desired.  In scene of Susan Alexander’s suicide attempt, the girl and poison are featured in the foreground while the doctors and Kane contrasted as they enter in the far background.  To achieve this effect, in-camera editing techniques were used.  First the foreground was shot with a dark background, then film was rewound, the lens refocused, and the film stock was exposed again with the background lit and foreground dark.  Over 50% of footage involved special effects, but this was not well known for about 40 years after the film was released.  Shots of Xanadu (Kane’s palatial estate) were filmed as miniature models.  This common technique saved money on set design.

Alfred Hitchcock's Notorious is best understood by examining it against the rest of Hitchcock's body of work. The ways in which the film is at once expected and full of surprises result of its historical context and from decisions made by Hitchcock and his team. It is full of classic Hitchcock suspense, yet this suspense (and the film's success in general) is achieved through means that are not all necessarily typical of Hitchcock. Additionally, the film fits loosely into many genres, but perfectly into none.

       In regards to Notorious specifically, Spoto makes several arguments. First, he suggests that the portrayal of Mrs. Sebastian, the first matriarch to appear in a Hitchcock film after his mother's death, as evil and controlling was directly related to this death and to Hitchcock's resulting emotional release. Spoto also argues that the overt sexuality in the film, embodied by Ingrid Bergman, was a result of Hitchcock's repressed and largely unexplored sexuality. Finally, Spoto parallels the film's theme of conflict between love and duty with similar conflict in Hitchcock's own life between his personal desires (embodied by Alex) and his public image (embodied by Devlin).

        The author's further psychoanalysis in essence declares that Hitchcock's Notorious is a work that is a result of context - of place, time, and circumstance in Hitchcock's own life. The film cannot be understood fully without understanding Hitchcock's personality and his personal life at the time of the film's creation. Spoto's chapter also shows that the film must be examined in a historical context outside of just Hitchcock - it must be seen in relation to Hollywood in the 1940s and to World War II-era America.

        In Chapter 9 of his work Hitchcock's Music, Jack Sullivan discusses the score of Notorious and its role in the movie and the audience's experience.  Sullivan argues that though the movie's score, composed by Roy Webb, is often overlooked by Hitchcock scholars, it is one of the best scores of any Hitchcock movie.  Although Hitchcock had hoped for a more well-known composer than Webb, in the end Webb's subdued, non-flashy style and his use of dissonance and jagged rhythms fit well, even perfectly, as Sullivan argues, with Hitchcock's vision for the movie.  The music, which often meshes so well with a scene that it seems to fade imperceptibly into the background, enhances the drama and danger that is written into the plot and that Hitchcock works so painstakingly to portray in the film through careful use of the camera and coaching of his actors.

        The chapter provides a clear example of one of the many unexpected and unconventional elements of Notorious that, when combined with the other building blocks of the movie, creates the classic suspense for which Hitchcock is so well-known.  The music is in no way a typical Hollywood film score - the tunes are not particularly catchy or melodramatic.  However, Webb's varied and sometimes unsettling style works in the moment and matches the movie's plot, with its characters buried in layers of unresolved conflict and life-threatening danger, and its audience immersed in the uncomfortable coexistence of personal and political conflict embodied by both Devlin and Alicia's love vs. duty conflicts.

Willis, James and Susan Silby.  “Self, Surveillance, and Society.”  The Sociological Quarterly 43.3 (2002): 439-45.

 

            This journal entry is a discussion of the fictional case study of Tom Voire, written by Gary T. Marx.  The essay essentially summarizes Marx’s story and then explains the themes and conclusions that can be drawn from the piece.  Tom Voire is depicted as a “Peeping Tom,” a “law-abiding and hard-working citizen” who has a strong penchant for sexual voyeurism that ultimately lands him in jail and under psychological scrutiny.  Beginning by video-taping his sexual encounters, Tom advances to deeper levels of peeping, watching videos of women changing in department stores, and ultimately creating a “technologically composed” girlfriend.  Analysis of Tom’s case focuses on several key issues.  First of all, Tom brings forth important ideas about gender discrimination in conjunction with voyeurism.  Additionally, Tom’s individuality—his lack of physical connection with the women he is watching—leads to a question of the damage and moral wrong present in this form of voyeuristic pleasure.  And finally, the detailed nature of the case study critiques the social standards that allow “experts” to delve so deeply into another person’s life with complete moral autonomy.

            The case of Tom Voire, and the themes that Willis and Silby introduce, can be appropriately applied to Rear Window.  Technology, for instance, is an important parallel between the two works.  Tom’s digital prowess gives him an advantage in completing his voyeuristic fantasies, just as Jeff’s camera equipment gives him an unrivaled view into the life of his neighbors.  The theme of social morality also applies to both works.  Just because Jeff’s intentions are good in spying on Thorwald and “Miss Lonely Hearts,” does that earn him the right to violate their personal privacy?  This idea continues in examining Jeff’s deeper motivations.  Both Tom and Jeff offer numerous excuses for delving into the private lives of others, and it is easy to see how both are covering up their hidden immoral desires to view what society forbids.  Contrasts between Jeff and Tom, as well as Jeff and Tom’s therapists, also provide various ideas of how voyeurism should be addressed by our society.

Keller, Susan Jo.  "Patriot Act Sections on Search and Surveillance Are Ruled Unconstitutional."  The New York Times 27 Sept. 2007: A29.

 

            This article from The New York Times announces that a section of the Patriot Act dealing with search and surveillance, an act initiated by Congress to combat terrorism, was ruled unconstitutional by a federal judge in Oregon.  The article describes how this decision came about after a deadly terrorist bombing in Spain in March 2004.  Brandon Mayfield, a lawyer in the child custody case of a man convicted of conspiring with al Qaeda, is also an Islamic convert, and was a major suspect in the attack.  The federal government performed extensive surveillance on him and his family, and placed him in jail for two weeks before the case was thrown out.  After a $2 million legal settlement, Mayfield sued the government, resulting in the decision rendered by Judge Anne L. Aiken, which overturned parts of the Patriot Act that infringed upon the 4^th amendment.  Quotations from Judge Aiken and the other individuals involved in the case accent the idea that the Patriot Act disrupts the balance between civil liberties and Executive power.

            The importance of the Patriot Act to Rear Window is evident in a modern interpretation of the film.  Clearly, the concepts of terrorism are not readily apparent in Hitchcock's movie.  However, there are parallels that can be drawn here.  Keller mentions, for instance, that Mayfield is targeted for surveillance because of his religion and his legal work with a prominent member of al Qaeda.  Jeff draws upon similar associations in determining Thorwald's guilt, as he never actually sees any murder committed, only the presence of conditions that might lead to murder.   Additionally, Jeff becomes frustrated by the legal procedures that Doyle claims must be respected, and the Patriot Act demonstrates that difficult balance between respecting the rights of others and achieving rapid results.  Mayfield's lawyer claims that "our nation's most cherished principle [is] the right to be secure in one's own home.''  Yet Jeff and Lisa infringe upon that right in the case of Thorwald, and as a result we are left with conflicting ideas about the importance of privacy and the need to achieve justice.

Ranier, Peter.  "‘Disturbia' peeps into ‘Rear Window' for inspiration."  The Christian Science Monitor 13 April 2007: Features, Weekend 14.

 

            This article is a film review of the movie Disturbia, starring Shia LeBeouf.  Ranier comments on the obvious comparisons to Hitchcock's film, calling it "Rear Window for the YouTube generation."  The article summarizes the basic plot while simultaneously commenting on the film's positive and negative aspects.  Ranier then makes comparisons between Disturbia and Rear Window, as well as other films and books which are concerned with solving mysteries.  The article concludes by discussing the ending of the movie and the dubious casting of one of the characters.

            The importance of this article is not in its connection of Disturbia and Rear Window; the copycat plotline of the film is obvious.  Ranier does, however, make several key observations about Disturbia and its voyeuristic content.  First of all, the simple fact that Rear Window has been remade indicates the relevance that spectatorship still has to our society.  Indeed, Ranier's YouTube reference indicates that voyeurism remains as captivating as ever, particularly for the younger generation.  Additionally, Ranier makes a point of discussing the film's suburban setting, contrasting the dangerous city of Rear Window with the seemingly protected "cookie-cutter" homes of Disturbia.  While Ranier is referring to murderers when he says "the suburbs are where you flee to safety," he could just as easily be talking about the peeping toms who thrive in the close quarters of city life.  Disturbia shows that our privacy is now even less limited; as Ranier writes, "In the new high-tech world of voyeurism even teenagers can easily become expert operatives."  Finally, Ranier's comparisons of Disturbia with "the Spielberg 1970s" and "the Hardy Boys and Nancy Drew" suggest a positive, sympathetic outlook on voyeurism, the "teen fantasy," as he writes.  If voyeurism is supposed to be morally questionable in Rear Window, Ranier suggests that this is not the case in our modern society of Disturbia.

Howe, Lawrence.  "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's Rear Window."  College Literature 35.1 (2008): 16-37.

 

            This essay by Lawrence Howe provides a detailed analysis of the power of gaze in Rear Window, emphasizing the importance of gaze as a social, reciprocal process.  In his introduction, Howe calls upon the ideas of Sartre from his essay "The Look," defining how the film distinguishes between the social dynamics of "being-for-others" and "being-for-oneself."  After outlining his main points, Howe begins the body of his essay by describing the importance of gaze to Jeff's personality and how he values his subjective viewpoint.  In the second portion of his essay, Howe opposes Mulvey's view of Lisa Fremont, instead using evidence to portray her as a powerful woman who utilizes Jeff's preoccupation with voyeurism to win his affections.  In the final section of the essay, Howe describes how, in the climax of the film, Jeff's role as subjective viewer is inverted, and he becomes a part of the rest of society through the process of being observed by others.  In his conclusion, Howe relates his ideas to the reflexive nature of the film.

            There are several aspects of this essay that are very important contributions to any discussion of voyeurism in Rear Window.  First of all, the essay provides a unique take on Lisa Fremont's role in the movie, and raises the importance of the female in this concept of voyeuristic gaze.  Additionally, the essay deals with the latent elements of scopophobia in the film.  As eager as Jeff is to find out what Thorwald is doing, he is just as persistent in trying to avoid being seen by him and receive the same scrutinized treatment.  Howe also ties in important ideas about society and the connection that is to be gained by embracing the gaze of others.  Finally, the essay relates this reciprocal gaze to the audience itself.  Although the audience is in no danger of being caught watching as Jeff is, the viewers still have nothing to fear by watching the events, and embrace the "mutual need" of the observers and the characters.  Hitchcock's sly cameo, and his acknowledgement of the audience, demonstrates the reciprocal pleasure that is gained through the film.

Belton, John.  "The Space of Rear Window."  MLN 103.5 (1988): 1121-38.

           

            The focus of this essay is the physical space of Rear Window, and how elements such as the set, camera work, and editing contribute to a theatrical feel for the film.   Belton first discusses the limited location of the movie and how this ties into the narrative structure and leads to the creation of a "dramatic spectacle."  He then introduces other elements of the film that serve as theatrical motifs, such as the slow fades between scenes, the window shades, which function as a faux theater curtain, and references to theatrical expressions.  The essay then proceeds to discuss the concept of "cinematic space" in greater detail.  After this, Belton moves into the idea of spectatorship and voyeurism within the film, and then subsequently the roles of Jeff's neighbors as reflections of his own experiences.  Finally, Belton spends the remainder of the essay explaining how the space of the movie "becomes narrativized" through Hitchcock's direction, showing both Jeff's subjective view of the events and Hitchcock's own objective view.

            In regards to voyeurism, Belton provides more than just the simple concept of Jeff as stand-in for the cinematic spectator.  His belief that Rear Window is one of Hitchcock's most theatrical films introduces interesting ideas about what drama and spectatorship really mean to both theater and cinema.  The major difference between film and theater is of course the distance of space between the audience and the performers.  Hitchcock breaks down this distance, however, by limiting the actions of the movie to a single performance space, and by having Jeff as an audience substitute.  This distinction leads to questions about the role of voyeurism in a theatrical setting.  Additionally, as Belton points out, the windows across from Jeff's apartment serve as "mini-screens," each of which depicts a different story that might fulfill a spectator's desire, including comedy, melodrama, film-noir, and even peep-show.  Belton's observations shows how Hitchcock recognizes both the tradition of past spectatorship and the voyeuristic society that is yet to come, in the form of modern reality television.

    In Modleski's chapter on Notorious, she thoroughly examines Hitchcock's film through a feminist lens. She describes how the film both fits into and breaks away from the film noir genre, moving into the female Gothic genre in which the heroine has a more active and inquisitive role. Unlike typical noir films, Notorious' main character is a female, Alicia; the story centers around her conflict, and the audience sympathizes with her plight. She is not simply an object of male desire. Modleski then explores the characterizations of male as sadist and female as masochist, as often used by feminist film theory. She argues that while to a certain extent, Devlin and Alicia fit these roles, they are far too simple to explain the characters' complex relationship - Devlin shows signs of masochism in that he choses to watch Alicia be subjected to suffering, knowing full well that he is in love with her. Additionally, Alicia's masochism is not simply a sign of her weakness and submissiveness - she uses her pain as an outlet for anger and a source of emotional power over Devlin. Modleski also draws an interesting connection between Alicia's conflict - to do right by her country requires violating social codes of appropriate sexual behavior - and the postwar period in which the film was made. She compares Alicia's love vs. duty conflict to that of the wartime citizen, male or female, asked to set aside personal issues for the greater good of the country.

    The chapter is very useful for placing the film in a historical context, both in terms of the postwar period and the period preceding second wave feminism. It also gives clear illustrations of how Notorious strays from the neatly defined categories it is often lumped into, such as spy film, film noir, and suspense film. Finally, the article shows how Hitchcock's treatment of Alicia's character is both similar to and different from his portrayal of heroines in his other films.

"Eternal Vigilance in Rear Window" / Armond White

 

This essay addresses the political and social themes present in Rear Window, as well as the influence these themes have had on other films that seek to rework Hitchcock's ideas.  White starts with the premise that Hitchcock's films serve as more than mere entertainment, but are actually important social commentaries with strong connections to the political context of the film.  Specifically, in Rear Window he addresses the alienation of postwar society.  After discussing film techniques used to enhance Hitchcock's message, particularly the use of "closed" framing, White moves on to make comparisons with other films, specifically Michelangelo Antonioni's Blow Up, Brian De Palma's Sisters and Blow Out, and Francis Ford Coppola's The Conversation.  White shows how these films are able to expand Hitchcock's ideas, and adapt them to their contemporary social context.

            While not directly addressing voyeurism, this idea can be applied to the essay in a unique manner.  It is somewhat strange to think that a movie so intent on examining other people's lives could also be a meditation on social alienation.  White repeatedly cites the dog's death, followed by the owner's gripping question, "Did you kill him because he liked you?" as proof of the deeper social message here: individuals struggle to survive in what appears to be an integrated society.  "Miss Lonely Heart," for example, is studied closely by Jeff throughout the course of the film, yet remains an alienated individual, struggling to find happiness and human connection.  White thus illuminates the distinction between voyeurism and interaction, simple aesthetic viewing and real human connection.  Additionally, by pointing to the idea that "the price of democracy is eternal vigilance," he brings up another major point in conjunction with voyeurism: watching our neighbors may not be a sin or even a guilty pleasure, but a duty that comes with not only protecting our nation, but maintaining the human interaction that defines democracy.

 

"The Metafictional Hitchcock" / R. Barton Palmer

 

In this essay, Palmer seeks to examine two of Hitchcock's later films, Rear Window and Psycho, and how they fulfill the criteria of "Metafictional" works.  He employs the definition provided by Patricia Waugh, who describes metafictional narratives as stories that "tend to be constructed on the principle of a fundamental and sustained opposition: the construction of a fictional illusion (as in the traditional realism) and the laying bare of that illusion..." Examining the two films individually, Palmer makes specific comparisons between the films and the works of Brecht and film noir.  He analyzes numerous other aspects of each film before noting some of their major contrasting points.  In his conclusion, Palmer determines that both films are reflexive, metafictional works, Rear Window by exploring "the existential basis of storytelling," and Psycho by undercutting the traditional Hollywood style of film-making.

Palmer directly addresses the idea that Rear Window is a commentary on voyeurism, and puts forth his own distinct take on the issue.  For him, the analogy between Jeff and the cinematic spectator is limited to the beginning of the film, before Jeff has decided to take action.  Once he realizes the nature of Thorwald's activity, Jeff abandons the role of spectator and assumes the role of a character in this narrative, a murder mystery of which he is the primary author.  Jeff only resumes the role of spectator when Lisa investigates Thorwald's bedroom, vicariously experiencing her dangerous situation.  In the end of the film, Jeff is completely removed from the role of spectator, as he survives Thorwald's attack and brings about his arrest.  Palmer connects these ideas to a metafictional interpretation, concluding that the film seeks to establish the distinction between spectator and character in storytelling.  By relinquishing the role of voyeur and interpreting his "story" as reality, Jeff consequentially puts himself in danger and suffers a broken leg.  At the same time, however, he puts a murderer in jail and starts himself on "a therapeutic project which delivers him to the joys and responsibilities...of full adult life."

 

This book focuses on the theories of Jacque Lacan and Sigmund Freud, and their application to feminist and bisexual ideas in Hitchcock's films.  Within each chapter, Samuels discusses a recent theory put forth on a particular film, and how their theories compare to the Lacanian and Freudian ideas.  Major theorists under discussion include Julia Kristeva Kaja Silverman, Judith Butler, Luce Irigary, and Slavoj Zizek.  Overall, Samuels maintains throughout the course of the book that Hitchcock's films are heterogeneous in nature and "present multiple forms of sexual identification and desire."

            Chapter 7, titled "Rear Window Ethics: Laura Mulvey and the Inverted Gaze," discusses Mulvey's interpretation of Rear Window in her essay, "Visual Pleasure and Narrative Cinema."  Specifically, Samuels claims that Mulvey has misinterpreted Lacan's idea of the gaze, as well as the definition of voyeurism.  While Mulvey depicts the gaze as a tool for male dominance, Samuels believes that gaze is instead "an object that threatens to escape from the control of the eye or the ‘I'."  Thus, men fear losing their gaze, and do not have the control over it that Mulvey claims.  Likewise, the concept of voyeurism is inverted as well.  For Mulvey, voyeurism is an active search for an object of desire, while Samuels sees it as looking for the absence, not presence, of the object.  Beyond these differences, Samuels interprets Jeff's obsession with the events of the opposite apartment building as a secret homosexual desire, not an overt heterosexual one.  Jeff ignores the perfectly feminine Lisa in favor of the masculine Thorwald, and in his voyeuristic endeavors, he is trying to put himself in the female position of Mrs. Thorwald, and perhaps "Miss Lonely Heart" as well.  In continuation of this argument, Samuels uses examples of Jeff's incompleteness as a man and his frequent use of phallic symbols in conjunction with Thorwald.  In the end, Samuels claims, Lisa only becomes more attractive to Jeff once she has made herself more masculine, once again pointing to Jeff's covert bi-sexuality.  Clearly, this is a drastically distinct reading from Mulvey's feminist argument.

According to the American Film Institute, Alfred Hitchcock's Vertigo is the 9th greatest movie of all time. While some critics choose to focus on the director's artistic achievements, others address the sexist undertones that are prevalent throughout the film. This project explores the sources of inspiration for Vertigo, and the two opposing ways that the film has been received.

According to Pomerance, popular film plots in the 1960s were obsessed with rationalizing idealized heterosexual unions.  But Hitchcock turned the romance genre on its head. As Mark and Marnie walk away from Mrs. Edgar’s home at the film’s end, we understand that this is not an ending where the couple lives “happily ever after.” Instead it seems that Marnie is the girl for Mark because he will never quite succeed in taming her. The war he will have to fight against this rebellious woman, in the bathroom, the boardroom, and the boudoir, will never altogether be won.  Marnie says, “I don’t want to go to jail.  I’d rather stay with you.”  And now, Mark replies, “Had you, love?”  making any attentive member of Hitchcock’s audience sit up; “For the romantic viewer convinced her marriage will now bring an eternity of daylight, Marnie’s “I’d rather” is a clear contraction of “I would rather.”  But Mark has a grammatical fluency that stumps the viewer.  His response is a clue that she meant—or that he interpreted her to mean “I’d” that is past tense.  Not “I would rather tomorrow and eternally; but “I had rather,” meaning in the past.  He says, “Had you, love?” She is saying bluntly that previously it had been her desire to remain with him but now desire is not her primary motivation.  The pure romance of that earlier attraction, Mark knows, has been diminished by the fact, now very evident, that he is the one who will keep her out of jail—that for Marnie he represents only the better of two alternatives, the other being an unthinkable option. Mark, and the viewer, must wonder, does she truly desire to go anywhere with him?”

The ambiguous ending of Hitchcock’s Marnie raises the ultimate question: if jail were not one of the looming possibilities, would Marnie be wanting to stay at Mark’s side?  Is a life with Mark simply the lesser of two evils or is her desire to “stay” with him something of genuine love.  The marriage between Mark and Marnie is anything but romantic, with a relationship that can be seen as that of doctor and patient rather than husband and wife and a relationship between two people that do not necessarily trust one another. Hitchcock makes it unclear whether Mark has actually cured Marnie—is he the only male with whom she can feel comfortable, or has he simply been deceived by Marnie in falling for her disguised “need” as love? 

 

    The fourth Chapter of Inga Karetnikova's text is devoted entirely to Hitchcock's Notorious. The author begins by providing a brief biography of Hitchcock, outlining both his early endeavors in the film industry and the movies made at the end of his career. Karetnikova also brings Ben Hecht, Notorious' screenwriter, into the picture, describing his relationship with Hitchcock and giving careful detail about the duo's creative process for the movie. Step by step, she moves through different story lines and plot twists considered by Hitchcock and Hecht until they finally arrived on what became Notorious. Lastly, Karetnikova briefly summarizes and then analyzes each scene in the movie, pointing out symbolism, themes, and created suspense.

     Karetnikova's scene-by-scene analyses prove particularly useful for looking at the film critically since they show Hitchcock's active and deliberate decision-making that leads to the creation of his signature suspense. He used the camera to create suspense by allowing shots to grow long and linger, and by showing the audience information not available to the characters. Karetnikova's analyses also show how Hitchcock uses perceived time to his advantage, in this case creating suspense by cutting to shots of the diminishing number of wine bottles at Alicia and Alex's party, signaling to the audience that it won't be long before someone has to go down into the wine cellar where Devlin is snooping. Finally, her treatment of symbols in the film, such as keys and wine bottles, clearly shows another way in which Hitchcock masters the art of suspense in this film.

“Interview with Kim Novak.” Interview. The MacGuffin. 2003. 4 Apr. 2008.
        <http://www.labyrinth.net.au/~muffin/kim_novak_c.html>.


        The MacGuffin website interviewed lead actress Kim Novak to ask her questions about her memorable dual-performances in Vertigo. When Novak received the script for Vertigo, she was known as the number one box-office star of the time. She explains that the only reason her agent let her take the part was due to the fact that Hitchcock was directing. When asked if Hitchcock made her feel valued as a performer, Novak responded by saying that “he didn’t necessarily, but, on the other hand, he didn’t make me feel less than.” A director obsessed with perfection, Hitchcock occasionally forced Novak to do things against her will. For instance, Novak was very against the constraining nature of the costumes that she was required to wear. Although Hitchcock gave her the chance to express her opinions, he felt that her “reasons weren’t good enough.” Novak decided to live with the costume and was able to play against it in a way that made it “right for Madeleine.” Asked about the ending, she explains that her belief is that Judy “absolutely” hurled herself from the tower in her untimely suicide. When the film first came out it was greeted with mixed reviews and a disappointing box-office. Novak described the experience on a personal level as being very “painful.” She explained that the “work [she] did in Vertigo meant nothing if no one cared about the movie.” Fortunately, the film would go on to experience a revival and people began to understand its value.
        The interview confirms that fact that Hitchcock exploited the “star system” as Novak was the biggest attraction at the time. Unfortunately for him, his approach did not result in instant success. Hitchcock never wavered in his vision of the film and over time people became to appreciate the film. Viewers and critics alike now hold the belief that Vertigo is a cinematic masterpiece.

Wood, Robin. “Vertigo.” Hitchcock’s Films Revisited 1989, 108-130. Google Books.
        University of Pennsylvania Library, Philadelphia. 8 Apr. 2008. <http://books.google.com/
        books?id=YTMgJCtpnywC&pg=PA129&lpg=PA129&dq=%22robin+wood%22+article+vertigo
        +%22perfect+organism%22&source=web&ots=cFw6zhOrKv&sig=5yNeHlgM6Agb3dRVA2CPe1ZjKGg&hl=en#PPA131,M1> 

        In this chapter, Robin Wood discusses his analysis of Vertigo and provides a review of the film. He starts off by declaring it one of the most beautiful films that has ever been made. The chapter breaks down various scenes and character interactions until he comes to the conclusion that the film is both “deep and universal.” He goes into detail about how Scottie tries to reasonably overcome his acrophobia and Madeleine’s situation. This progresses into the second stage of the film where he becomes overwhelmed with guilt. In the final third, Scottie becomes lost in the world around him. Wood applauds the fact that Hitchcock includes the audience in the film by having it understand what Scottie is going through. Although the film gives a disturbing attitude to life, it also demonstrates the power and value of love. The only flaw Wood finds is that Kim Novak could have shown more inwardness while playing Judy. The scene of her writing the letter is too drawn out and as a result loses some of its power. Nevertheless, he praises the film’s “emotional depth” and its “power to disturb.”
        This analysis and review was of great importance to Vertigo’s eventual rise to prominence. When it was first released, the film was greeted with mixed reviews and a poor box office. It was not until critics began focusing on the artistic elements of the story, that Vertigo gained its much deserved respect.

“Vertigo Movie Review.” Variety Magazine. 14 May. 1958. 8 Apr. 2008.
        <http://www.variety.com/index.asp?layout=variety100&content=jump&
        jump=review&reviewID=VE1117796098&category=1935>.

         In this original 1958 Variety Magazine review of Hitchcock’s Vertigo, the critic provides a very mixed assessment of the film. The reviewer lauds the performance of Jimmy Stewart while noting that under Hitchcock’s direction, Kim Novak is “nearer an actress than she was in [previous films].” The reviewer also notes the beautiful photography of San Francisco and feels that the images will play a paramount role in whatever success the film generates. The major problem with the film is that “the film’s first half is too slow and too long.” The critic believes that this may be the result of Hitchcock becoming too enamored with scenery or with a screenplay that just takes too long to get going. The reviewer describes the action as “mainly psychic” while appreciating and even giving away the final scene of the film. The review culminates by questioning if the two-hour runtime could be better spent by the viewer. The critic finds the film to be “basically only a psychological murder mystery.”
        This review is important because it shows the overwhelming sentiments that the film received when it first came out. The critic goes so far as to question if she wasted her time watching the film. And this is a film which is today regarded as a masterpiece. It is interesting to note that the Variety viewer believed that the film’s photography would play a part in its success. Although this turned out to be incorrect, Hitchcock too believed that extravagant settings would lead to a strong reception. Overtime, response to Vertigo changed as critics began to find deeper meaning in the film.
 

Goodkin, Richard E. “Hitchcock’s Vertigo and Proust’s Vertigo.” MLN Dec. 1987, 1171-1181. JSTOR.
        University of Pennsylvania Library, Philadelphia. 4 Apr. 2008. <http://www.jstor.org/stable/2905316>.  

 

      In this paper, Richard E. Goodkin investigates Proust’s In Search of Time to find the true inspiration for Vertigo. While he admits that there are striking differences, Goodkin finds elements that are so similar that they are impossible to ignore. For instance, the name Madeleine Elster is simply a combination of Proust’s memory-cake and the narrator’s favorite painter. Scottie’s attempt to remake Judy as Madeleine is similar to Proust’s Madeleine in that they both embody the attempt to relive the past. Time is central to both stories, for in Vertigo the entire second half focuses on Scottie’s desire to go back on time; nostalgia for the love he once had. In the beginning of the film, Scottie tries to slowly get used to heights by climbing up a stool. He attempts such a task through “habit,” one of the central tenements in Proust’s story. In his novel, the only way the narrator finds “lost time” is by going “against his habit.” Scotties inability to succeed through habit demonstrates the uncontrollable nature of time. Goodkin moves on to focus on the second half of Madeleine’s name: Elster, the name of Proust’s painter. The critic is quick to explain that “not only is Madeleine modeled after a painting, but Scottie attempts to recreate her as a sort o