By Michael Walker
Alfred Hitchcock’s motion pictures are well known across the world, and a mountain of literature has distinctive likely each part of them. but remarkably few stories have completely concerned about the routine motifs in Hitchcock’s motion pictures. Michael Walker treatments this staggering hole in Hitchcock literature with an cutting edge and in-depth research of the sustained motifs and topics threaded via Hitchcock’s complete physique of work. Combing via all fifty-two extant characteristic motion pictures and consultant episodes from Hitchcock’s tv sequence, Walker lines over 40 motifs that emerge in habitual 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 paintings, Walker analyzes such parts to bare a fancy internet of cross-references in Hitchcock’s artwork. He additionally offers complete recognition to the wider social contexts during which the motifs and subject matters are performed out, arguing that those interwoven parts upload new and richer depths to Hitchcock’s oeuvre. a useful, encyclopedic source for the student and fan, Hitchcock’s Motifs is an engaging research of 1 of the best-known and so much fashionable movie administrators in background.
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Extra info for Hitchcock's Motifs (Amsterdam University Press - Film Culture in Transition)
Example text
The film complicates matters further by associating Mark with both the sailors who ‘want in’ (the knocking at the door; the struggle with Bernice which precipitates Marnie’s flashback memory) and Bernice (the shadowy figure in the doorway). Marnie’s unconscious fear of and hostility towards her husband is thus doubly motivated. Hence the importance of the struggle between Mark and Bernice in triggering the flashback: it enables Marnie, psychically, to separate the two figures, helping to release her repressed memory.
Other sites for ‘the return of the repressed’ include BED SCENES and Bathrooms (under CONFINED SPACES). g. g. the notion that the chaos world lies just underneath the surface of the everyday world. PUBLIC DISTURBANCES are another sort of example. They function in a social Overview of the key motifs 51 sense like the return of the suppressed: the veneer of politeness and decorum cracks, and chaos ensues. One motif in particular – THE CORPSE – frequently marks the entrance of a protagonist into the chaos world.
Novello’s highly stylised, self-conscious use of gesture I would term Expressionist in the sense that it evokes the aesthetics of the German Expressionist cinema. In later Hitchcock films we only find such extreme Expressionist stylisation occasionally, as in the scene of Miriam’s murder in Strangers on a Train. As Bruno strangles her, Hitchcock shows the murder through one of the lenses of Miriam’s spectacles, which have fallen off: ‘The shot is one of the cinema’s most powerful images of perverted sexuality… It ends with Bruno’s hands enormous in the lens as he moves back from the body’ (Wood : ).