Camera Obscura (2004) - Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock

Details

• article: Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock
• author(s): Jessica Brent
• journal: Camera Obscura (01/Jan/2004)
• issue: volume 19, issue 1 55, pages 77-111
• DOI: 10.1215/02705346-19-1_55-77
• journal ISSN: 0270-5346
• keywords: "Alfred Hitchcock and the British Cinema" - by Tom Ryall, "Alfred Hitchcock: Centenary Essays" - edited by Richard Allen and S Ishii Gonzales, "Hitchcock on Hitchcock" - edited by Sidney Gottlieb, "The Dark Side of Genius: The Life of Alfred Hitchcock" - by Donald Spoto, "The Women Who Knew Too Much" - by Tania Modleski, Alfred Hitchcock, Betty Balfour, Blackmail (1929), British Film Institute, Champagne (1928), Critical theory, David Bordwell, Donald Spoto, Esme Percy, Femininity, Film (International, Europe), Film (Productions), Film criticism, Film theory, François Truffaut, Gaze Theory, Herbert Marshall, Imagery, Ivor Novello, James Stewart, Jessica Brent, June Tripp, Kim Novak, Leo Braudy, Malcolm Keen, Murder! (1930), Narrative Style, New York City, Norah Baring, Pascal Bonitzer, Patricia Hitchcock, Representations (1990) - Anal Rope, Richard Allen, Robert Stam, Roland Barthes, Rope (1948), Sam Ishii-Gonzales, Sidney Gottlieb, Silent Films, Strangers on a Train (1951), Tania Modleski, The Lodger (1927), The Pleasure Garden (1925), Thomas Elsaesser, Tom Gunning, Tom Ryall, Vertigo (1958), William Rothman, Young and Innocent (1937)

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Abstract

The silent films of Alfred Hitchcock exhibit a less developed version of his distinctive personal style but clearly show his alternative visuality. Discerning Hitchcock's alternative visuality requires looking past the dominant gaze of classical cinema that anxiously seeks to subordinate the captivating image to narrative coherence.