- article: The Ideological Transformation of Conrad's "The Secret Agent" into Hitchcock's "Sabotage"
- author(s): Paula Marantz Cohen
- journal: Literature Film Quarterly (1994)
- issue: volume 22, issue 3, page 199
- journal ISSN: 0090-4260
- publisher: Salisbury University
- keywords: "Hitchcock's British Films" - by Maurice Yacowar, "The Dark Side of Genius: The Life of Alfred Hitchcock" - by Donald Spoto, "The Women Who Knew Too Much" - by Tania Modleski, Academy Awards, Alfred Hitchcock, Blackmail (1929), Charles Bennett, Claude Chabrol, Competition, Desmond Tester, Donald Spoto, Easy Virtue (1928), François Truffaut, Gaumont British Picture Corporation Limited, Islington Studios, London, Jamaica Inn (1939), John Loder, Joseph Conrad, Laura Mulvey, Mass markets, Maurice Yacowar, Motion picture directors & producers, Murder! (1930), New York City, New York, North by Northwest (1959), Notorious (1946), Novels, Oskar Homolka, Paula Marantz Cohen, Rich and Strange (1931), Robert Donat, Robin Wood, Sabotage (1936), Screen (1975) - Visual pleasure and narrative cinema, Secret Agent (1936), Shadow of a Doubt (1943), Sylvia Sidney, Tania Modleski, The 39 Steps (1935), The Lodger: A Story of the London Fog (1927), W. Somerset Maugham, Young and Innocent (1937), Éric Rohmer
In its ability to so incorporate the viewer into its mechanism, Hitchcock's film ultimately seems to correspond to that "perfect... really intelligent detonator" to which Conrad's Professor devotes his life.7 One gains a better understanding of Hitchcock's relationship to a mass audience at this point in his career when one considers the extent to which he must have conceived of himself as like that audience.