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Cinema Journal (1986) - The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in "Rear Window" and "Psycho"

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  1. ↑ Hitchcock's early reputation was made by the series of six thrillers he completed for Gaumont-British and Gainsborough in the middle and late thirties. His early American period, including the work done for David Selznick, can be seen as a consolidation of his ability to work within the thriller genre. With the appearance of the thematic study of this body of work by Chabrol/Rohmer in 1957, however, attention shifted from the narrative form of the Hitchcockian film to its purportedly religious content. For further discussion of the early commercial and critical views of Hitchcock's accomplishment see Maurice Yacowar, Hitchcock's British Films (Hamden, Conn.: Archon Books, 1977).
  2. ↑ Bill Nichols, Ideology and the Image (Bloomington: Indiana University Press, 1981), 131-69 (a chapter based on several previously published articles), and Raymond Bellour, "Psychosis, Neurosis, Perversion," Camera Obscura, nos. 3/4 (1979): 105-32.
  3. ↑ Robert Stam, "Hitchcock and Bunuel: Desire and the Law," Studies in the Literary Imagination, no. 16 (Spring, 1983): 7-27.
  4. ↑ Patricia Waugh, Metafiction: The Theory and Practice of Self-Conscious Fiction (New York: Methuen, 1984), 6.
  5. ↑ Robin Wood, Hitchcock's Films (New York: A. S. Barnes, 1977). This is a slightly revised version of the book originally published in 1970.
  6. ↑ Roberta Pearson and Robert Stam, "Hitchcock's Rear Window: Reflexivity and the Critique of Voyeurism," Enclitic, no. 7 (Spring, 1983): 136-45.
  7. ↑ Waugh, Metafiction, 16.
  8. ↑ See Bellour, "Psychosis, Neurosis, Perversion," 105-32, and William Rothman, Hitchcock: The Murderous Gaze (Cambridge: Harvard University Press, 1982), 246-341.
  9. ↑ Foster Hirsch, Film Noir: The Dark Side of the Screen (New York: A. S. Barnes, 1981), 139.
  10. ↑ See, in particular, the often-quoted study of J. A. Place and L. S. Peterson, "Some Visual Motifs of Film Noir," in Movies and Methods, ed. Bill Nichols (Berkeley: University of California Press, 1976), 325-38.
  11. ↑ James Damico, "Film Noir: A Modest Proposal," in Film Reader, no. 3 (1978): 48- 57.
  12. ↑ See Janet Bergstrom, "Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour," trans. Susan Suleiman, Camera Obscura, nos. 3/4 (1979): 70-103.
  13. ↑ Christine Gledhill, "Klute 1: A Contemporary Film Noir and Feminist Criticism," in Women in Film Noir, ed. E. Ann Kaplan (London: BFI, 1980), 6-21.
  14. ↑ Larry Gross, "Film Apres Noir," Film Comment 12, no. 4 (Jul.-Aug., 1976): 44.
  15. ↑ Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (Baltimore: Johns Hopkins University Press, 1978), 120-31.
  16. ↑ Laura Mulvey, "Notes on Sirk and Melodrama," Movie 25 (Winter 1977-78): 53-56.
  17. ↑ Geoffrey Hartman, "Literature High and Low: The Case of the Mystery Story," in The Poetics of Murder: Detective Fiction and Literary Theory, ed. Glenn W. Most and William W. Stowe (New York: Harcourt Brace Jovanovich, 1983), 210-29.

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