Discourse (2009) - Zarathustran Bird Wars: Hitchcock's "Nietzsche" and the Teletechnic Loop
Details
- article: Zarathustran Bird Wars: Hitchcock's "Nietzsche" and the Teletechnic Loop
- author(s): Tom Cohen
- journal: Discourse (2009)
- issue: volume 31, issue 1/2, page 140
- journal ISSN: 0730-1081
- publisher: Wayne State University Press
- keywords: "Hitchcock: The Murderous Gaze" - by William Rothman, "The Hitchcock Murders" - by Peter Conrad, "The Strange Case of Alfred Hitchcock" - by Raymond Durgnat, Alfred Hitchcock, Blackmail (1929), Cahiers du Cinéma, Carole Lombard, Cary Grant, David Dodge, David O. Selznick, Espionage, Family Plot (1976), Grace Kelly, Gregory Peck, Ingrid Bergman, James Stewart, MacGuffin, Mount Rushmore, South Dakota, Mr. & Mrs. Smith (1941), New York City, New York, Notorious (1946), Patrick Hamilton, Peter Conrad, Portland Place, London, Post offices, Psycho (1960), Random House, Raymond Durgnat, Roger O. Thornhill, Rope (1948), Salvador Dalí, Secret Agent (1936), Shadow of a Doubt (1943), Spellbound (1945), Strangers on a Train (1951), The 39 Steps (1935), The Birds (1963), The Lodger: A Story of the London Fog (1927), The Man Who Knew Too Much (1934), The Trouble with Harry (1955), To Catch a Thief (1955), Tom Cohen, Torn Curtain (1966), Vertigo (1958), William Rothman, Young and Innocent (1937)
Links
Abstract
[...] Hitchcock's first cameo in The Lodger (1927) occurs as news editor before giant printing press wheels and teletype machines - figures of imprinting and media that extend to wireless broadcasting into the heads of morphing faces and print carrying trucks with eyes. Cinema already marks with its advent the "global" or postglobal orders that it, from the first, cannot stop itself from assuming and proliferating - as through its linkage to the advance of technoweaponry and genocide, hypercapital, contemporary mediacracy, accelerations of terrestrial evisceration, and so on.\n While the audience is seduced by the Riviera panorama shot from a plane, they do not see that the land is barren, scorched by a sun positioned behind, or in line with, the eye of the camera - whose technologies and representational appropriations work, inversely, in that deforestation.
