Journal of Religion and Film (2014) - "Love, What Have You Done to Me?" Eros and Agape in Alfred Hitchcock's I Confess
Details
- article: "Love, What Have You Done to Me?" Eros and Agape in Alfred Hitchcock's I Confess
- author(s): Catherine M. O'Brien
- journal: Journal of Religion and Film (01/Mar/2014)
- issue: volume 18, issue 1
- journal ISSN: 1092-1311
- publisher: University of Nebraska at Omaha, Department of Philosophy and Religion
- keywords: "Alfred Hitchcock: A Life in Darkness and Light" - by Patrick McGilligan , "Alfred Hitchcock: The Legacy of Victorianism" - by Paula Marantz Cohen, "An Eye for Hitchcock" - by Murray Pomerance, "The Films of Alfred Hitchcock" - by David Sterritt, "The Hitchcock Romance: Love and Irony in Hitchcock's Films" - by Lesley Brill, Academy Awards, Agape, Alfred Hitchcock: A Life in Darkness and Light (2003) by Patrick McGilligan, Alfred Hitchcock, Alma Reville, Amy Lawrence, Analysis, Anne Baxter, Brian Aherne, Charles Andre, Chicago, Illinois, Criticism and interpretation, David Sterritt, Dolly Haas, Filmmakers, François Truffaut, Helen Scott, Henry Fonda, I Confess (1953), Jack Sullivan, Karl Malden, Lesley Brill, Love, Montgomery Clift, Murray Pomerance, Neil P. Hurley, New York City, New York, O.E. Hasse, Patrick McGilligan, Paul Anthelme, Paula Marantz Cohen, Priesthood, Production Code Administration, Robin Wood, Roger Dann, San Francisco, California, The Wrong Man (1956), Warner Bros.
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Abstract
Despite its pre-Vatican II setting, Alfred Hitchcock's I Confess (1953) has retained a notable relevance in the twenty-first century. Although the titular act of confession is unsurprisingly significant, the diegesis actually foregrounds Matrimony and Holy Orders--two sacraments that remain under the spotlight during a tumultuous era for the Catholic Church. Alongside the traditional Hitchcockian theme of "an innocent man wrongly accused," the plot really hinges on love--a subject that is intelligible to people of all religions and none. While examining the mise-en-scene of the director's most Catholic film, this article offers an exploration of I Confess as a cinematic reflection on the complexities of eros and agape for both the laity and the priesthood.
Article
- Archived from http://digitalcommons.unomaha.edu/jrf/vol18/iss1/44/
- © 2014 Catherine M. O'Brien