Biography (1986) - Personality, Pathology, and The Act of Creation: The Case of Alfred Hitchcock
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- article: Personality, Pathology, and The Act of Creation: The Case of Alfred Hitchcock
- author(s): Stanton Peele
- journal: Biography (01/Jun/1986)
- issue: volume 9, issue 3, pages 202-218
- DOI: 10.1353/bio.2010.0645
- journal ISSN: 0162-4962
- publisher: University of Hawai'i Press
- Sloan's Alfred Hitchcock: A Filmography and Bibliography (1995) — page 487, #800
- keywords: Alfred Hitchcock Presents (TV), Alfred Hitchcock, Alma Reville, Andrew Sarris, Blackmail (1929), British International Pictures, Cary Grant, Claude Chabrol, David O Selznick, Donald Spoto, Eva Marie Saint, Family Plot (1976), Famous Players-Lasky, Frank Launder, François Truffaut, Frenzy (1972), Gaumont British Picture Corporation Limited, Grace Kelly, Ingrid Bergman, James Stewart, Kim Novak, Laurence Olivier, Madison Avenue, New York City, New York, Marnie (1964), Montgomery Clift, Murder! (1930), North by Northwest (1959), Notorious (1946), Paramount Pictures, Paul Newman, Peter Bogdanovich, Psycho (1960), Raymond Durgnat, Rear Window (1954), Rebecca (1940), Robin Wood, Sabotage (1936), Sean Connery, Secret Agent (1936), Shadow of a Doubt (1943), Sidney Gilliat, Strangers on a Train (1951), The 39 Steps (1935), The Birds (1963), The Lady Vanishes (1938), The Lodger (1927), The Man Who Knew Too Much (1934), Tippi Hedren, Torn Curtain (1966), Universal Studios, Vera Miles, Vertigo (1958), Éric Rohmer
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Abstract
Recent biographies of Alfred Hitchcock — especially Spoto's (1983) — have emphasized the deterministic role of Hitchcock's emotional problems in his art. Such analyses of Hitchcock's personality and creativity touch on classic issues of the relationship between art and artist. However, any reduction of artistic themes like those in Hitchcock's films into terms of personal psychopathology is inadequate for apprehending artistic creation.
Article