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Hitchcock's motifs /
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Hitchcock's motifs / Michael Walker.
Hitchcock's work through his recurring motifs.
Saved in:
Bibliographic Details
Main Author:
Walker, Michael
Format:
eBook
Language:
English
Published:
Amsterdam :
Amsterdam University Press,
2005.
Series:
Film culture in transition.
Subjects:
Hitchcock, Alfred,
>
1899-1980
>
Criticism and interpretation.
Hitchcock, Alfred,
>
1899-1980
Hitchcock, Alfred
>
1899-1980
Hitchcock, Alfred,
>
1899-1980
>
Themes, motives.
Motion pictures
>
Plots, themes, etc.
The arts.
Film, TV and radio.
Films, cinema.
Individual film directors, film-makers.
PERFORMING ARTS
>
Film & Video
>
Direction & Production.
PERFORMING ARTS
>
Film & Video
>
General.
Music, Dance, Drama & Film.
Film.
Criticism, interpretation, etc.
Online Access:
Click for online access
Holdings
Description
Table of Contents
Similar Items
Staff View
Table of Contents:
Part I. Hitchcock, Motifs and Melodrama. Introduction
Three motifs. Home movies
Cigarette case/lighter
Milk
Melodrama and Hitchcock's motifs
An elaborated motif: the Bed Scene in Rebecca and Marnie
A melodramatic motif: hands
Diagrammatic representations
Overview of the key motifs
Part II. The Key Motifs. BED SCENE
Couples and beds
Beds and the police
BLONDES AND BRUNETTES
CAMEO APPEARANCES
Cameos and the police
CHILDREN
Children's cameos
Family members
Children and violence
Children and the police
CONFINED SPACES
Bathrooms and washrooms
Confinement and concealment
Cages and bars: fears of imprisonment
Washrooms and the police
THE CORPSE
The heroines
The heroes
The villains
Corpses and the police
DOGS AND CATS
Dogs and the police
DOUBLES
Doubles and the police
ENDINGS AND THE POLICE
ENTRY THROUGH A WINDOW
Entry through a window and the police
EXHIBITIONISM / VOYEURISM / THE LOOK
EXHIBITIONISM / VOYEURISM
SPY FILMS / THE LOOK
Exhibitionism, voyeurism and the police
FOOD AND MEALS
Food and marriage
Food and sex
Food and murder
Food and guilt
Chickens and eggs
Table talk and fascism
Food and the police
GUILTAND CONFESSION
Catholic overtones
Guilt and Hitchcock's villains
Transference of guilt
Guilt, confession and the police
HANDCUFFS AND BONDAGE
HANDS
Male hands/female hands
Held wrists
Damaged hands
Holding hands
Hands and the police
HEIGHTS AND FALLING
Heights, falling and the police
HOMOSEXUALITY
Critical positions
Gay undercurrents
Espionage and the look
Ivor Novello
Homosexuality and the police
JEWELLERY
Greed
Status
Female desire
Female beauty/male power
Male murderousness
Jewellery and the police
KEYS AND HANDBAGS
KEYS
Keys and handbags
HANDBAGS
Handbags and keys
Keys, handbags and the police
LIGHT(S)
Vampires and blinding
Murder and homosexuality
Lights and the police
THE MACGUFFIN
The MacGuffin and the police
MOTHERS AND HOUSES
Mothers and the police
PORTRAITS, PAINTINGS AND PAINTERS
PORTRAITS
PAINTINGS
Modern art
PAINTERS
Portraits, paintings and the police
PUBLIC DISTURBANCES
Public disturbances and the police
SPECTACLES
Spectacles and the police
STAIRCASES
Hitchcockian levels
Political variations
Sinister staircases
Freudian overtones
Couples and staircases
Staircases and the police
TRAINS AND BOATS / PLANES AND BUSES
TRAINS
BOATS
PLANES
BUSES
Trains and boats and the police
WATER AND RAIN
WATER
RAIN
Water and the police
Appendix I: TV Episodes. BED SCENE
CHILDREN
CONFINED SPACES
THE CORPSE
DOUBLES
FOOD AND MURDER / ENDINGS AND THE POLICE
LIGHTS
BOATS
Appendix II: Articles on Hitchcock's motifs
Appendix III: Definitions. Diegesis
Point-of-view editing.
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