The women who knew too much hitchcok and feminist theory

free ebooks ==> www.ebook777.com www.ebook777.com free ebooks ==> www.ebook777.com THE WOMEN WHO KNEW TOO MUCH Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic “master of suspense.” The third edition features an interview with the author by David Greven, in which he and Modleski reflect on how feminist and queer approaches to Hitchcock studies may be brought into dialogue A teaching guide and discussion questions by Ned Schantz help instructors and students to delve into this seminal work of feminist film theory Tania Modleski is Florence R Scott Professor of English at the University of Southern California She is the author of Loving with a Vengeance and Feminism Without Women, and of numerous articles on feminism, film, and popular culture David Greven is Professor of English Language and Literature at the University of South Carolina He is the author of numerous books on both film and literature and has written extensively on Hitchcock Ned Schantz is Associate Professor of English at McGill University and is at work on a study of Hitchcock and hospitality He is the author of Gossip, Letters, Phones: The Scandal of Female Networks in Film and Literature (Oxford University Press, 2008) free ebooks ==> www.ebook777.com Praise for the first edition of The Women Who Knew Too Much: “In considering cases of sexism and Hollywood cinema, Alfred Hitchcock is obviously a prime suspect from a feminist perspective, so one might think it odd that a book centered on Hitchcock films could become a key text and textbook for feminist film theory Yet Tania Modleski’s The Women Who Knew Too Much: Hitchcock and Feminist Theory has become one of those touchstone critical projects central to feminism because the book addresses questions of interpretation that affect all of us who are engaged in reading from a woman’s point of view.” —Linda Mizejewski, Discourse (1991) “[N]o one writing about Hitchcock will be able to ignore Modleski’s challenges.” —Paul Thomas, Film Quarterly (1989) “Tania Modleski’s study of Alfred Hitchcock provides new insights into one of cinema’s most productive directors; while arguing against auteur theory she presents a superb example of it.” —Paula Rabinowitz, Feminist Studies (1990) www.ebook777.com free ebooks ==> www.ebook777.com THE WOMEN WHO KNEW TOO MUCH SECOND 3RD EDITION EDITION Hitchcock and Feminist Theory ccccc Tania Modleski free ebooks ==> www.ebook777.com Third edition published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of Tania Modleski to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 All rights reserved No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe First edition published 1988 by Methuen Second edition published 2005 by Routledge Library of Congress Cataloging-in-Publication Data Modleski, Tania, 1949– The women who knew too much : Hitchcock and feminist theory / Tania Modleski — Third edition pages cm Includes bibliographical references and index Hitchcock, Alfred, 1899–1980—Criticism and interpretation Women in motion pictures Feminism and motion pictures Motion pictures and women I Title PN1998.3.H58M64 2015 791.430233092—dc23 2015008603 ISBN: 978-1-138-92032-3 (hbk) ISBN: 978-1-138-92033-0 (pbk) ISBN: 978-1-315-68715-5 (ebk) Typeset in Minion by Apex CoVantage, LLC www.ebook777.com free ebooks ==> www.ebook777.com Dedication for Clare and Frank Modleski free ebooks ==> www.ebook777.com This page intentionally left blank www.ebook777.com free ebooks ==> www.ebook777.com Contents Acknowledgments ix Introduction 1 Rape vs Mans/laughter: Blackmail 15 Male Hysteria and the “Order of Things”: Murder! 29 Woman and the Labyrinth: Rebecca 41 The Woman Who Was Known Too Much: Notorious 55 The Master’s Dollhouse: Rear Window 69 Femininity by Design: Vertigo 89 Rituals of Defilement: Frenzy 103 Afterword to the 1988 Edition: Hitchcock’s Daughters 117 Afterword to the 2005 Edition: Resurrection of a Hitchcock Daughter 123 An Interview with David Greven 153 Study Guide by Ned Schantz 169 Notes 183 Works Cited 199 Index 205 vii free ebooks ==> www.ebook777.com This page intentionally left blank www.ebook777.com free ebooks ==> www.ebook777.com Acknowledgments I want to thank Patrice Petro for her encouragement when it was most needed, for her invaluable help on this project, and for her friendship Without her this book would not have been written I also want to thank Jane Nardin, who not only read and commented on the manuscript, but watched some of the films with me and on more than one occasion provided crucial insights that became central to my analyses She sustained me in important ways throughout the writing of this book Dana Polan read and reread chapters of the manuscript and, as he always does, made scholarly collaboration both richly rewarding and lots of fun I am deeply grateful to my friends who read and critiqued all or part of the manuscript: Devon Hodges, Nadia Medina, and Abigail Solomon-Godeau A slightly altered version of Chapter was first published as “Rape versus Mans/laughter: Hitchcock’s Blackmail and Feminist Interpretation,” PMLA 102, no (May 1987): 304–15 A slightly altered version of Chapter was first published as “Never to Be Thirty-Six Years Old: Rebecca as Female Oedipal Drama,” Wide Angle 5, no (1982): 34–41 free ebooks ==> www.ebook777.com Notes  195 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 father See Paula Marantz Cohen, Alfred Hitchcock: The Legacy of Victorianism (Lexington, Kentucky: The University Press of Kentucky, 1995), p 85 Robert E Kapsis, Hitchcock: The Making of a Reputation (Chicago and London: University of Chicago Press, 1992), p 137 Quoted in Kapsis, Hitchcock, p 134 See Rebecca Bailin, “Feminist Readership, Violence, and Marnie,” Film Reader (1982): 24–35 Quoted in Kapsis, Hitchcock, pp 134–35 Michele Piso, “Mark’s Marnie,” in A Hitchcock Reader, Ed Marshall Deutelbaum and Leland Poague (Ames, Iowa: Iowa State Press, 1986), p 296 Piso, “Mark’s Marnie”, p 293 So much for Kapsis’s claim that Piso seems unaware of the “ambiguous” presentation of the rape Indeed, pace Kapsis, Piso exhibits keen awareness that Marnie’s “narrative levels are inconsistent,” that the film conveys “conflicting ideologies,” p 303 Kapsis, Hitchcock, p 146 Susan Smith, Hitchcock: Suspense, Humour and Tone (London: British Film Institute, 2000), p 137 Žižek, “Everything You Always Wanted to Know,” p viii As an example of the latter, see his discussion of Rear Window in which he notes that what goes on across the courtyard in the film are “fantasy figurations of what could happen to him and Grace Kelly” (his italics) Looking Awry: An Introduction to Jacques Lacan through Popular Culture (Cambridge and London: MIT Press, 1991), p 92 “Leave my mother alone, or I’ll kill you myself,” says young Charlie to her uncle at one point It is out of fear for what the knowledge about Charles’s identity as a murderer will to her mother that Charlie must bear the burden of this knowledge herself As for the policeman/ possible future husband he is, as Paula Marantz Cohen points out with a bit of understatement, “hardly a weighty presence in the film” (p 72) Žižek, Looking Awry, p 98 Peter Wollen, Signs and Meaning in the Cinema (Bloomington, Indiana: University of Indiana Press, 1972), p 104 Slavoj Žižek, “From Desire to Drive: Why Lacan is not Lacaniano,” Atlantica de las Artes 14 (1996): Slavoj Žižek, Enjoy Your Symptom! Jacques Lacan in Hollywood and Out (New York and London: Routledge, 1992), p 155 Žižek, “In His Bold Gaze My Ruin is Written,” Everything You Wanted to Know, p 234 Tom Cohen has pointed to a weakness in certain of Žižek’s formulations, like this one that posits the viewer’s “identification” with the “abyss beyond identification.” The rhetoric suggests Žižek’s inability to go the distance “While Žižek closes the model of identification and subjectivization, he does so by moving to the perverse endpoint and inversion (emptying) of the same discursive terms—not quite ‘beyond’ it.” See his Anti-Mimesis from Plato to Hitchcock (Cambridge: Cambridge University Press, 1994), p 232 Quoted in Elsie B Michie, “Hitchcock and American Domesticity,” in Hitchcock’s America, Eds Jonathan Freedman and Richard Millington (Oxford: Oxford University Press, 1999), p 42 Žižek, Enjoy Your Symptom!, p 119 D.A Miller, “Anal Rope,” Representations 32 (Fall 1990): 127 Lee Edelman, “Piss Elegant: Freud, Hitchcock, and the Micturating Penis,” GLQ nos 1–2 (1995): 155 See Kaja Silverman, Male Subjectivity at the Margins (New York: Routledge, 1992) Lee Edelman, “Rear Window’s Glasshole,” Out Takes: Essays on Queer Theory and Film, Ed Ellis Hanson (Durham, North Carolina: Duke University Press, 1999), p 72 In conversation Edelman, “Rear Window’s Glasshole,” p 81 Lee Edelman, “Hitchcock’s Future,” in Alfred Hitchcock: Centenary Essays, Eds Richard Allen and S Ishii-Gonzales (London: British Film Institute, 1999), p 240 De Lauretis’s book was published after the articles, but many of her ideas circulated before its publication in essay form Lucretia Knapp, “Queer Marnie,” Cinema Journal 32 (Summer 1993): Rhona J Berenstein, “I’m Not the Sort of Person Men Marry: Monsters, Queers, and Hitchcock’s Rebecca,” CineAction 29 (Fall 1992): 90 Speaking of my casting both Rebecca and Mrs Danvers as mother figures for the heroine, Patricia White remarks that neither woman seems “remotely maternal.” I don’t know about that I’ve known plenty of cold and withholding mothers Is White here indulging in a little nostalgia for the preoedipal dyad? See Uninvited: Classical Hollywood Cinema and Lesbian Representability (Bloomington, Indiana: Indiana University Press, 1999), p 66 free ebooks ==> www.ebook777.com 196  Notes 29 Teresa de Lauretis, The Practice of Love: Lesbian Sexuality and Perverse Desire (Bloomington, Indiana: Indiana University Press, 1994), p 249 30 Adria E Schwartz, Sexual Subjects: Lesbians, Gender, and Psychoanalysis (New York: Routledge, 1998), p 20 31 White, Uninvited, p 66 32 Knapp, “Queer Marnie,” p 17 33 “‘Preoedipal’ refers to the interpersonal situation (absence of the Oedipal triangle), while ‘pregenital’ concerns the type of sexual activity in question.” J Laplanche and J.-B Pontalis, The Language of Psychoanalysis, trans Donald Nicholson-Smith (New York: W.W Norton, 1973), p 328 34 See, for example, Noreen O’Connor and Joanna Ryan, Wild Desires and Mistaken Identities: Lesbianism and Psychoanalysis (New York: Columbia University Press, 1993), esp pp 62–72 35 J Laplanche and J.-B Pontalis, The Language of Psychoanalysis, trans Donald NicholsonSmith (Baltimore, MD:Johns Hopkins University Press, 1974), p 286 36 Quoted in de Lauretis, The Practice of Love, p 179 37 Julia Kristeva, Black Sun, trans Leon S Roudiez (New York: Columbia University Press, 1989), p 27 38 Susan White, “Vertigo and the Problem of Knowledge in Feminist Film Theory,” in Centenary Essays, p 283 For more discussion of my “essentializing way,” see White’s ”Allegory and Referentiality: Vertigo and Feminist Criticism,” MLN 106 (December 1991): 910–32 39 In other respects, the book is somewhat disappointing, especially when it relies, as it often does, on a kind of reflection theory of art in relation to its historical moment Take, for example, Corber’s analysis of the 1950s version of The Man Who Knew Too Much Corber draws heavily on Dr Spock to show that Hitchcock’s film is complicit with the forces that pushed women back into the home and defined the mother’s role as a full-time job He argues that although we identify primarily with Jo, the Doris Day character, the film somehow also judges her to be a bad mother—for example, when she reads a magazine on the bus while her son Hank gets up and inadvertently pulls the veil off the head of a Muslim woman (my italics) Hank, Corber concludes from the boy’s wandering part way down the aisle of the bus, “has not been adequately socialized and is failing to develop ‘normally’”! Jo has “been too busy with her career to bond ‘properly’ with him.” What Corber neglects to note is that Jo has given up her career for marriage and motherhood Although she would like to return to singing, it is simply incorrect to say she has been “busy with her career.” Nor, I think, does the film in any way show her to be delinquent in reading a magazine while her child sits between her and his father and gets a little restive (Had she been keeping an eagle eye on this rather big boy, Dr Spock would have had plenty to say about that.) Even Corber, earlier in the very same paragraph, remarks that, “Hank seems relatively well adjusted.” Nevertheless, he insists in the next clause, the boy “does not promise to contribute to the reproduction of the national security state.” (As exaggerated as this claim may seem, it is nothing compared with Žižek’s that Hank when he grows up will be Norman Bates Has film criticism gone mad? Well, I suppose we all go a little mad sometimes.) Later Corber quotes some passages from Dr Spock and then moves immediately to apply them to the film, exactly as if they were part of the film text itself: “This formulation [that is, Dr Spock’s] of the Oedipus complex, which was typical during the 1950s, suggests that Hitchcock was critical of Jo’s desire to function as a point of identification for Hank because it conflicted with the Oedipal structure of the middle-class nuclear family.” Robert J Corber, In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Durham, North Carolina: Duke University Press, 1993), pp 145–48 Corber’s analysis of The Man Who Knew Too Much, I think, illustrates perfectly the dangers inherent in trying to see films as reflections of their times—it is easy to end up downplaying those elements of the text that might go against the normalizing thought of their period and thus to find oneself unintentionally complicit with the forces of normalization While Corber admits to the fact that our sympathies lie with Jo in this film and even to the fact that Hank appears to be developmentally on course, he ends up arguing against his own best insights to make the film into the mouthpiece of the dominant ideology Interview with David Greven Diana Fuss, Identification Papers (New York: Routledge, 1995), pp 71–72 Robin Wood, Hitchcock’s Films Revisited (New York and Oxford: Columbia University Press, 1989) www.ebook777.com free ebooks ==> www.ebook777.com Notes  197 Richard Allen, “Interview with Jay Presson Allen,” The Hitchcock Annual (2000), p 13 Patricia White, “Hitchcock and Hom(m)osexuality,” in Hitchcock Past and Future, Eds Richard Allen and Sam Ishii-Gonzales (New York: Routledge, 2004), p 215 Jonathan Goldberg, Strangers on a Train: A Queer Film Classic (Vancouver BC: Arsenal Pulp Press, 2012) A term one encounters throughout Edelman’s No Future: Queer Theory and the Death Drive (London and Durham: Duke University Press, 2004) Shulamith Firestone, The Dialectic of Sex: The Case for Feminist Revolution (New York: Farrar, Straus, & Giroux, 1970), p 11 Edelman 2004, p 19 See Susan Fraiman’s critique of an earlier version of Edelman’s reading of Philadelphia in her Cool Men and the Second Sex (New York: Columbia University Press, 2003) “Hitchcock’s Queer Daughters,” unpublished essay 10 See, for example, Leo Bersani, Homos (Cambridge: Harvard University Press, 1995), pp 94–95 11 Alexander Doty, Flaming Classics: Queering the Film Canon (New York: Routledge, 2000), p 180 12 “Making a Meal of Manhood: Revisiting Rope and the Question of Hitchcock’s Homophobia,” Genders, no 56 (Fall 2012) 13 Jean Laplanche, New Foundations for Psychoanalysis, trans David Macy (New York: Blackwell, 1989) 14 I would like to thank Megan McKenzie for pointing this out to me Study Guide William Rothman, Hitchcock: The Murderous Gaze, 2nd ed (Cambridge: Harvard University Press, 2012) D.A Miller, “Hitchcock’s Hidden Pictures,” Critical Inquiry, no 37 (Autumn 2010): 106–30 Ariella Azoulay, The Civil Contract of Photography (New York: Zone, 2008), p 230 Susan Stewart, On Longing (Durham: Duke University Press, 1993) free ebooks ==> www.ebook777.com This page intentionally left blank www.ebook777.com free ebooks ==> www.ebook777.com Works Cited Abel, Richard “Notorious: Perversion par Excellence.” A Hitchcock Reader Eds Marshall Deutelbaum and Leland Poague Ames: Iowa State University Press 1986 ——— “Stage Fright: The Knowing Performance.” Film Criticism 9, no (1984–85): 41–50 Allen, Jeanne Thomas “The Representation of Violence To Women: Hitchcock’s Frenzy.” Film Quarterly 38, no (Spring 1985): 30–38 Allen, Richard “Interview with Jay Presson Allen,” The Hitchcock Annual (2000): 13 Anderson, Lindsay “Alfred Hitchcock.” Focus on Hitchcock Ed Albert J LaValley Englewood Cliffs, NJ: Prentice-Hall, 1972 Azoulay, Ariella The Civil Contract of Photography New York: Zone, 2008 Bachelard, Gaston The Poetics of Space Trans Maria Jolas Boston: Beacon, 1964 Barr, Charles “Blackmail: Silent and Sound.” Sight and Sound 52, no (1983): 189–93 Barthes, Roland The Pleasure of the Text Trans Richard Miller New York: Hill and Wang, 1975 ——— S/Z Trans Richard Miller New York: Hill and Wang, 1974 Baudry, Jean Louis “Author and Analyzable Subject.” Trans Alan Williams Apparatus: Cinematographic Apparatus: Selected Writings Ed Theresa Hak Kyung Cha New York: Tanam, 1980 ——— “Ideological Effects of the Basic Cinematographic Apparatus.” Trans Alan Williams Apparatus: Cinematographic Apparatus: Selected Writings Ed Theresa Hak Kyung Cha New York: Tanam, 1980 Behlmer, Rudy, Ed Memo From: David O Selznick New York: Avon, 1972 Bellour, Raymond “The Birds: Analysis of a Sequence.” Mimeograph British Film Institute Advisory Service, n.d ——— “Hitchcock, the Enunciator.” Camera Obscura, no (Fall 1977): 66–91 Belton, John Cinema Stylists Metuchen, NJ: Scarecrow, 1983 Berenstein, Rhona J “I’m Not the Sort of Person Men Marry: Monsters, Queers, and Hitchcock’s Rebecca,” CineAction 29 (Fall 1992): 82–96 Bergstrom, Janet “Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour.” Camera Obscura, nos 3–4 (1979): 71–104 ——— “Enunciation and Sexual Difference.” Camera Obscura, nos 3–4 (1979): 33–70 ——— “Sexuality at a Loss: The Films of F.W Murnau.” Poetics Today 6, nos 1–2 (1985): 185–203 Bersani, Leo The Freudian Body: Psychoanalysis and Art New York: Columbia University Press, 1986 ——— Homos Cambridge: Harvard University Press, 1995 Bonitzer, Pascal “Partial Vision: Film and the Labyrinth.” Trans Fabrice Ziolkowski Wide Angle 4, no (1981): 56–64 Brooks, Peter Reading for the Plot: Design and Intention in Narrative New York: Vintage, 1985 Browne, Nick “The Spectator in the Text: The Rhetoric of Stagecoach.” Movies and Methods, Vol Ed Bill Nichols Berkeley and Los Angeles: University of California Press, 1985 Castle, Terry Clarissa’s Ciphers: Meaning and Disruption in Richardson’s Clarissa Ithaca: Cornell University Press, 1982 Citron, Michele, Julia Lesage, B Ruby Rich, and Anna Maria Taylor “Women and Film: A Discussion of Feminine Aesthetics.” New German Critique, no 13 (Winter 1978): 83–108 Cixous, Hélène “Castration or Decapitation?” Trans Annette Kuhn Signs 7, no (Autumn 1981): 41–55 Cohen, Paula Marantz Alfred Hitchcock: The Legacy of Victorianism Lexington, KY: The University Press of Kentucky, 1995 Cohen, Tom Anti-Mimesis from Plato to Hitchcock Cambridge: Cambridge University Press, 1994 Cook, Pam “Duplicity in Mildred Pierce.” Women in Film Noir Ed E Ann Kaplan London: British Film Institute, 1978 Copjec, Joan “The Anxiety of the Influencing Machine.” October, no 23 (Winter 1982): 43–60 199 free ebooks ==> www.ebook777.com 200  Works Cited Corber, Robert J In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar American Durham, NC: Duke University Press, 1993 pp 145–48 Cottom, Daniel “The Enchantment of Interpretation.” Critical Inquiry 11, no (June 1985): 573–94 Dayan, Daniel “The Tutor Code of Classical Cinema.” Movies and Methods, Vol Ed Bill Nichols Berkeley and Los Angeles: University of California Press, 1976 de Lauretis, Teresa “Aesthetic and Feminist Theory: Rethinking Women’s Cinema.” New German Critique, no 34 (Winter 1985): 154–75 ——— Alice Doesn’t: Feminism, Semiotics, Cinema Bloomington: Indiana University Press, 1984 ——— The Practice of Love: Lesbian Sexuality and Perverse Desire Bloomington: Indiana University Press, 1994 Deleuze, Gilles Masochism: An Interpretation of Coldness and Cruelty Trans Jean McNeil New York: George Braziller, 1971 Didi-Huberman, Georges Invention de l’hystérie: Charcot et l’iconographie photographique de la Salpêtrière Paris: Macula, 1982 Doane, Mary Ann “Caught and Rebecca; The Inscription of Femininity as Absence.” Enclitic 5–6, nos 1–2 (Fall 1981–Spring 1982): 175–89 ——— The Desire to Desire: The Woman’s Film of the 1940’s Bloomington: Indiana University Press, 1987 ——— “Film and the Masquerade: Theorising the Female Spectator.” Screen 23, nos 3–4 (September-October 1982): 74–87 ——— “Misrecognition and Identity.” Cine-Tracts 3, no (Fall 1980): 25–32 ——— “The ‘Woman’s Film’: Possession and Address.” Revision: Essays in Feminist Film Criticism Eds Mary Ann Doane, Patricia Mellencamp, and Linda Williams The American Film Institute Monograph Series, Vol Frederick, MD: University Publications of America, 1984 Doty, Alexander Flaming Classics: Queering the Film Canon New York: Routledge, 2000 Douchet, Jean “Hitch et son Public.” Cahiers du Cinéma, no 113 (November 1960): 7–15 Douglas, Mary Purity and Danger: An Analysis of the Concepts of Pollution and Taboo New York: Praeger, 1966 Durgnat, Raymond The Strange Case of Alfred Hitchcock, or the Plain Man’s Hitchcock Cambridge: MIT Press, 1974 Dworkin, Ronald “Law as Interpretation.” The Politics of Interpretation Ed W.J.T Mitchell Chicago: University of Chicago Press, 1983 Edelman, Lee “Hitchcock’s Future,” in Alfred Hitchcock: Centenary Essays Eds Richard Allan and S Ishii-Gonzales London: British Film Institute, 1999 ——— No Future: Queer Theory and the Death Drive London and Durham: Duke University Press, 2004 ——— “Piss Elegant: Freud, Hitchcock, and the Micturating Penis.” GLQ 2, vol 2, no 1–2 (1995): 149–77 ——— “Rear Window’s Glasshole,” Out Takes: Essays on Queer Theory and Film Ed Ellis Hanson Durham, NC: Duke University Press, 1999 Felman, Shoshana “Rereading Femininity.” Yale French Studies, no 62 (1981): 19–44 ——— “Women and Madness: The Critical Phallacy.” Diacritics, no (Winter 1975): 2–10 Fetterley, Judith The Resisting Reader: A Feminist Approach to American Fiction Bloomington: Indiana University Press, 1978 Firestone, Shulamith The Dialectic of Sex: The Case for Feminist Revolution New York: Farrar, Straus, & Giroux, 1970 Fischer, Lucy Shot/Countershot: Film Traditions and Women’s Cinema Princeton, NJ: Princeton University Press, 1989 ——— “Two-Faced Woman: The ‘Double’ in Women’s Melodrama of the 1940’s.” Cinema Journal 23, no (Fall 1983): 24–43 Fleenor, Juliann E., Ed The Female Gothic London: Eden, 1983 Fraiman, Susan Cool Men and the Second Sex New York: Columbia University Press, 2003 Freud, Sigmund “‘A Child is Being Beaten’: A Contribution to the Study of the Origin of Sexual Perversions.” The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol 17 Trans James Strachey London: Hogarth, 1974 ——— Beyond the Pleasure Principle Trans James Strachey New York: Norton, 1961 ——— The Ego and the Id Trans Joan Riviere New York: Norton, 1960 ——— “Female Sexuality.” Standard Edition, Vol 21 www.ebook777.com free ebooks ==> www.ebook777.com Works Cited  201 ——— “Femininity.” New Introductory Lectures on Psychoanalysis Trans James Strachey New York: Norton, 1965 ——— “Hysterical Phantasies and Their Relation to Bisexuality.” Standard Edition, Vol 19 ——— Jokes and Their Relation to the Unconscious Trans James Strachey New York: Norton, 1960 ——— “Mourning and Melancholia.” Standard Edition, Vol 14 ——— “On Narcissism: An Introduction.” Standard Edition, Vol 14 ——— “Psychoanalytic Notes upon an Autobiographical Account of Paranoia (Dementia Paranoides).” Three Case Histories Ed Philip Rieff New York: Collier, 1963 ——— “Some Psychical Consequences of the Anatomical Distinction between the Sexes.” Standard Edition, Vol 19 ——— Three Essays on the History of Sexuality Trans James Strachey New York: Basic Books, 1962 ——— “The ‘Uncanny.’” On Creativity and the Unconscious: Papers on the Psychology of Art, Literature, Love, Religion Ed Benjamin Nelson New York: Harper Torchbooks, 1958 ——— Totem and Taboo, Standard Edition, Vol 13 Fuss, Diana Identification Papers New York: Routledge, 1995 Goldberg, Jonathan Strangers on a Train: A Queer Film Classic Vancouver, BC: Arsenal Pulp Press, 2012 Halprin, Sarah “Writing in the Margins: Review of E Ann Kaplan’s Women and Film.” Jump Cut, no 29 (1984): 31–33 Hansen, Miriam “Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship.” Cinema Journal 25, no (Summer 1986): 6–32 Haskell, Molly From Reverence to Rape: The Treatment of Women in the Movies New York: Penguin, 1974 Heath, Stephen “Difference.” Screen 19, no (Autumn 1978): 59–112 ——— “Lessons from Brecht.” Screen 15, no (Summer 1974): 103–28 ——— Questions of Cinema Bloomington: Indiana University Press, 1981 Higham, Charles “Hitchcock’s World.” Film Quarterly 16, no (Winter 1962): 3–16 Hitchcock, Alfred “Direction.” Focus on Hitchcock Ed Albert J LaValley Englewood Cliffs, NJ: Prentice-Hall, 1972 Houston, Beverle and Marsha Kinder Close-Up New York: Harcourt Brace Jovanovich, 1972 Huyssen, Andreas “Mass Culture as Woman: Modernism’s Other.” Studies in Entertainment: Critical Approaches to Mass Culture Ed Tania Modleski Bloomington: Indiana University Press, 1986 Irigaray, Luce “Ce Sexe qui n’en est pas un.” New French Feminisms Eds Elaine Marks and sabelle de Courtivron Amherst: University of Massachusetts Press, 1980 ——— Speculum of the Other Woman Trans Gillian C Gill Ithaca: Cornell University Press, 1985 Jacobus, Mary “Is There a Woman in This Text?” New Literary History 14, no (Autumn 1982): 117–42 Jameson, Frederic The Political Unconscious: Narrative as a Socially Symbolic Act Ithaca: Cornell University Press, 1981 ——— “Reading Hitchcock.” October, no 23 (Winter 1982): 15–42 Jardine, Alice Gynesis: Configurations of Woman and Modernity Ithaca: Cornell University Press, 1985 Johnston, Claire “Towards a Feminist Film Practice: Some Theses.” Movies and Methods, Vol Ed Bill Nichols Berkeley and Los Angeles: University of California Press, 1985 ——— “Women’s Cinema as Countercinema,” Movies and Methods, Vol Ed Bill Nichols Berkeley and Los Angeles: University of California Press, 1976 Kaplan, E Ann “The Case of the Missing Mother: Maternal Issues in Vidor’s Stella Dallas.” Heresies, no 16 (1983): 81–85 ——— Women and Film: Both Sides of the Camera New York and London: Methuen, 1983 ———, Ed Women in Film Noir London: British Film Institute, 1978 Kapsis, Robert E Hitchcock: The Making of a Reputation Chicago: University of Chicago Press, 1992 Knapp, Lucretia “Queer Marnie,” Cinema Journal 32, no (Summer 1993): 6–23 Koch, Gertrud “Why Women Go to Men’s Films.” Feminist Aesthetics Ed Gisela Ecker Boston: Beacon, 1985 Kofman, Sarah The Enigma of Woman Trans Catherine Porter Ithaca: Cornell University Press, 1985 free ebooks ==> www.ebook777.com 202  Works Cited Kristeva, Julia Black Sun Trans Leon S Roudiez New York: Columbia University Press, 1989 ——— “Ellipsis on Dread and the Specular Seduction.” Trans Dolores Burdick Wide Angle 3, no (1979): 42–47 ——— Powers of Horror: An Essay on Abjection Trans Leon S Roudiez New York: Columbia University Press, 1982 Kuhn, Annette Women’s Pictures: Feminism and Cinema London: Routledge & Kegan Paul, 1982 Lacan, Jacques Ecrits: A Selection Trans Alan Sheridan New York: Norton 1977 Laplanche, Jean Life and Death in Psychoanalysis Trans Jeffrey Mehlman Baltimore, MD: Johns Hopkins University Press, 1976 Laplanche, Jean and J.B Pontalis The Language of Psycho-Analysis Trans Donald Nicholson Smith London: Hogarth, 1973 ——— New Foundations for Psychoanalysis Trans David Macy New York: Blackwell, 1989 Lemoine-Luccioni, Eugénie Partage des femmes Paris: Seuil, 1976 Lévi-Strauss, Claude The Raw and the Cooked: Introduction to a Science of Mythology, Vol Trans John and Doreen Weightman Chicago: University of Chicago Press, 1969 ——— The Savage Mind Chicago: University of Chicago Press, 1966 Linderman, Deborah “The Screen in Hitchcock’s Blackmail.” Wide Angle 4, no (1980): 20–29 Lurie, Susan “The Construction of the Castrated Woman in Psychoanalysis and Cinema.” Discourse, no (Winter 1981–82): 52–74 ——— “Pornography and the Dread of Women: The Male Sexual Dilemma.” Take Back the Night: Women on Pornography Ed Laura Lederer New York: William Morrow, 1980 MacKinnon, Catharine “Feminism, Marxism, Method and the State: Toward Feminist Jurisprudence.” Signs 8, no (Summer 1983): 635–58 Mayne Judith “The Female Audience and the Feminist Critic.” Women and Literature, forthcoming ——— “The Limits of Spectacle.” Wide Angle 6, no (1984): 5–14 McLaughlin, James B “All in the Family: Alfred Hitchcock’s Shadow of a Doubt.” Wide Angle 4, no (1980): 12–19 Metz, Christian “History/discourse: a note on two voyeurisms.” Theories of Authorship Ed John Caughie London: Routledge & Kegan Paul, 1981 ——— The Imaginary Signifier Trans Celia Britton, Anwyl Williams, Ben Brewster, and Alfred Guzzetti Bloomington: Indiana University Press, 1982 Michie, Elsie B “Hitchcock and American Domesticity,” in Hitchcock’s America Eds Jonathan Freedman and Richard Millington Oxford: Oxford University Press, 1999 Miller, D.A “Anal Rope,” in Representations 32 (Fall 1990): 114–133 ——— “Hitchcock’s Hidden Pictures.” Critical Inquiry, no 37 (Autumn 2010): 106–30 Miller, J Hillis Fiction and Repetition: Seven English Novels Cambridge: Harvard University Press, 1982 Miller, Mark Crispin “Hitchcock’s Suspicions and Suspicion.” Modern Language Notes 98, no (December 1983): 1143–86 ——— “Making a Meal of Manhood: Revisiting Rope and the Question of Hitchcock’s Homophobia.” Genders, 56 (Fall 2012) Mitchell, Juliet Psychoanalysis and Feminism New York: Vintage, 1974 Modleski, Tania Loving with a Vengeance: Mass-Produced Fantasies for Women New York and London: Methuen, 1984 ——— “Never to be Thirty-six years old: Rebecca as Female Oedipal Drama,” Wide Angle 5, no (1982): 34–41 Mulvey, Laura “Afterthoughts on ‘Visual Pleasure and Narrative Cinema,’ Inspired by Duel in the Sun.” Framework 15/16/17 (Summer 1981): 12–15 ——— “Visual Pleasure and Narrative Cinema.” Screen 16, no (1975): 6–18 Naremore, James Filmguide to Psycho Bloomington: Indiana University Press, 1973 Nowell-Smith, Geoffrey “Minnelli and Melodrama.” Screen 18, no (Summer 1977): 113–19 O’Connor, Noreen and Joanna Ryan Wild Desires and Mistaken Identities: Lesbianism and Psychoanalysis New York: Columbia University Press, 1993 Pajakowska, Claire “Imagistic Representation and the Status of the Image in Pornography.” CineTracts 3, no (Fall 1980): 13–24 Palmer, R Barton “The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in Rear Window and Psycho.” Cinema Journal 26, no (Winter 1986): 4–29 Perlmutter, Ruth “Rear Window: A Construction Story.” Journal of Film and Video, no 37 (Spring 1985): 53–65 Perkins, V.F Film as Film: Understanding and Judging Movies New York: Penguin, 1972 Petro, Patrice Joyless Streets: Women and Melodramatic Representation in Weimar Germany Princeton, NJ: Princeton University Press, 1989 www.ebook777.com free ebooks ==> www.ebook777.com Works Cited  203 ——— “Rematerializing the Vanishing ‘Lady’: Feminism, Hitchcock, and Interpretation.” A Hitchcock Reader Ed Marshall Deutelbaum and Leland Poague Ames: Iowa State University Press, 1986 Piso, Michele “Mark’s Marnie,” A Hitchcock Reader Ed Marshall Deutelbaum and Leland Poague Ames: Iowa State University Press, 1986 Polan, Dana Power and Paranoia: History, Narrative, and the American Cinema, 1940–1950 New York: Columbia University Press, 1986 Pollack, Griselda “Report on the Weekend School.” Screen 18, no (Summer 1977): 105–13 Reik, Theodor Masochism and Modern Man Trans Margaret H Biegel and Gertrud M Kurth New York: Farrar, Straus, 1941 Rein, Sonia “Masochism and Feminist Theory.” Unpublished manuscript Renov, Michael “From Identification to Ideology: The Male System of Hitchcock’s Notorious.” Wide Angle 4, no (1980): 30–37 Rich, Adrienne “When We Dead Awaken: Writing as Re-vision.” On Lies, Secrets, and Silence: Selected Prose, 1966–78 New York: Norton, 1979 Rodowick, David “The Difficulty of Difference.” Wide Angle 5, no (1982): 4–15 Rohmer, Eric and Claude Chabrol Hitchcock: The First Forty-Four Films New York: Ungar, 1979 Rose, Jacqueline “Paranoia and the Film System.” Screen 17, no (Winter 1976–77): 85–104 Rothman, William, “Alfred Hitchcock’s Notorious.” Georgia Review 39, no (1975): 884–927 ——— Hitchcock: The Murderous Gaze Cambridge: Harvard University Press, 1982 ——— Hitchcock: The Murderous Gaze, 2nd ed Cambridge: Harvard University Press, 2012 Said, Edward The World, the Text, and the Critic Cambridge: Harvard University Press, 1983 Sartre, Jean-Paul Being and Nothingness Trans Hazel Barnes New York: Washington Square, 1966 Scholes, Robert “Narration and Narrativity in Film.” Film Theory and Criticism Ed Gerald Mast and Marshall Cohen New York: Oxford University Press, 1985 Schwartz, Adria E Sexual Subjects: Lesbians, Gender, and Psychoanalysis London and New York: Routledge, 1998 Sedgwick, Eve Kosofsky Between Men: English Literature and Male Homosocial Desire New York: Columbia University Press, 1985 Silverman, Kaja “Fragments of a Fashionable Discourse.” Studies in Entertainment: Critical Approaches to Mass Culture Ed Tania Modleski Bloomington: University Press, 1986 ——— “Histoire d’O: The Construction of a Female Subject.” Pleasure and Danger Exploring Female Sexuality Ed Carole S Vance New York; Routledge and Regan Paul, 1984 ——— “Lost Objects and Mistaken Subjects: Film Theory’s Structuring Lack.” Wide Angle 7, nos 1–2 (1985): 14–29 ——— “Masochism and Subjectivity.” Framework no 12 (1980): 2–9 ——— The Subject of Semiotics New York: Oxford University Press, 1983 Smith, Susan Hitchcock: Suspense, Humour and Tone London: British Film Institute, 2000 Spoto, Donald The Art of Alfred Hitchcock New York: Doubleday, 1976 ——— The Dark Side of Genius: The Life of Alfred Hitchcock New York: Ballantine, 1983 Stam, Robert and Roberta Pearson “Hitchcock’s Rear Window: Reflexivity and the Critique of Voyeurism.” Enclitic 7, no (Spring 1983): 136–45 Stewart, Susan On Longing Durham: Duke University Press, 1993 ——— On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection Baltimore, MD: Johns Hopkins University Press, 1984 Studlar, Gaylyn “Masochism and the Perverse Pleasures of the Cinema.” Movies and Methods, Vol Ed Bill Nichols Berkeley and Los Angeles: University of California Press, 1985 ——— Response to Miriam Hansen, “Pleasure, Ambivalence, Identification, Valentino, and Female Spectatorship,” Cinema Journal 26, no (Winter 1987): 51–53 Taylor, John Russell Hitch London: Faber & Faber, 1978 Thompson, Kristin “The Duplicitous Text: An Analysis of Stage Fright.” Film Reader, no (1977): 4264 Truffaut, Franỗois Hitchcock New York: Simon & Schuster, 1983 Waldman, Diane “At Last I Can Tell It to Someone! Feminine Point of View and Subjectivity in the Gothic Romance Films of the 1940’s.” Cinema Journal 23, no (1983): 29–40 Weber, Samuel The Legend of Freud Minneapolis: University of Minnesota Press, 1982 Weis, Elizabeth The Silent Scream: Alfred Hitchcock’s Sound Track East Brunswick, NJ: Fairleigh Dickinson University Press, 1982 Welsh, Alexander George Eliot and Blackmail Cambridge: Harvard University Press, 1985 Wexman, Virginia Wright “The Critic as Consumer: Film Study in the University, Vertigo and the Film Canon.” Film Quarterly 39, no (Spring 1986): 32–41 free ebooks ==> www.ebook777.com 204  Works Cited White, Patricia Uninvited: Classical Hollywood Cinema and Lesbian Representability Bloomington, Indiana: Indiana University Press, 1999 White, Patricia “Hitchcock and Hom(m)osexuality,” in Hitchcock Past and Future Eds Richard Allen and Sam Ishii-Gonzales New York: Routledge, 2004 White, Susan “Allegory and Referentiality: Vertigo and Feminist Criticism,” MLN, 106, (December 1991): pp 910–32 ——— “Vertigo and the Problem of Knowledge in Feminist Film Theory,” Alfred Hitchcock: Centenary Essays Ed Richard Allan and S Ishii-Gonzales London: British Film Institute, 1999 p 240 Willeman, Paul “Distantiation and Douglas Sirk.” Screen 12, no (Summer 1971): 63–67 Williams, Linda “Something Else Besides a Mother: Stella Dallas and the Maternal Melodrama.” Cinema Journal 24, no (Fall 1984): 2–27 ——— “When the Woman Looks.” Re-vision: Essays in Feminist Film Criticism Eds Mary Ann Doane, Patricia Mellencamp, and Linda Williams American Film Institute Monograph Series, Vol Frederick, MD: University Publications of America, 1984 Wollen, Peter Signs and Meaning in the Cinema Bloomington: University of Indiana Press, 1972 Wood, Robin “Fear of Spying.” American Film (November 1982): 28–35 ——— Hitchcock’s Films South Brunswick and New York: A.S Barnes and Tantivy, 1966 ——— Hitchcock’s Films Revisited New York and Oxford: Columbia University Press, 1989 Woolf, Virginia A Room of One’s Own New York: Harbinger, 1957 Yacowar, Maurice Hitchcock’s British Films Hamden, CT: Archon, 1977 Žižek, Slavoj Enjoy Your Symptom! Jacques Lacan in Hollywood and Out New York and London: Routledge, 1992 ——— “From Desire to Drive: Why Lacan is not Lacaniano,” Atlantica de Las Artes 14, 1996 ——— Looking Awry: An Introduction to Jacques Lacan through Popular Culture Cambridge and London: MIT Press, 1991 ———, Ed Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock) London and New York: Verso, 1992 www.ebook777.com free ebooks ==> www.ebook777.com Index Page numbers in italics refer to figures A C Allen, Jay Presson, 157 Allen, Jeanne Thomas, 193n ambivalence, Hitchcock’s toward women, 3, 10, 52, 107, 111, 113, 138, 140, 167 Anderson, Judith, 43 Anderson, Lindsay, 20, 24n anger, women’s, 4, 24, 25, 64, 65, 124, 164, 172 Antigone, 62 anus and anal desire, 137–140, 161, 166–67 Azoulay, Ariella, 171 Calthrop, Donald, 16 cannibalism, psychic, 42, 111–112, 113, 193n Casablanca, 172 Castle, Terry, 146 castration, 2, 10, 17–18, 49, 50, 62, 69, 75, 96, 109, 118, 119, 120, 137–140, 144, 160, 161, 167, 169, 192n Catholicism, Hitchcock’s, 14, 109 Chabrol, Claude, see Rohmer, Eric, and Claude Chabrol Chapman, Edward, 29 Charcot, Jean Martin, 38–39, 172 Citron, Michelle, Cixous, Hélène, 7, 17, 19, 93, 134 Copjec, Joan, 191n Corber, Robert J., 151, 196n Corey, Wendell, 70 Cottom, Daniel, 164n, 186n Cribbins, Bernard, 104 B Bailin, Rebecca, 125–27 Baring, Norah, 30 Barthes, Roland, 31, 61 Basinger, Jeanine, 158 Bates, Florence, 43 Baudry, Jean-Louis, 79, 80 Bel Geddes, Barbara, 90 Bellour, Raymond, 2, 13, 19, 37, 42, 47, 48, 61, 62, 64, 72, 129, 156 Berenstein, Rhona, 142–43, 145–46, 151, 155, 160 Bergman, Ingrid, 55, 155, 156, 158, 187n Bergstrom, Janet, 9, 129, 183n Bersani, Leo, 66–67, 159, 164, 165 binary oppositions, 9, 66, 68, 72, 138, 140, 142, 184n Birds, The, 2, 5, 104, 129, 130–32, 135, 141–42, 155, 159, 160, 162, 164–65, 174, 193n bisexuality, 11, 101, 25; of men, 8, 9–11, 100; of women, 5, 6, 8, 9, 142–143, 146, 148, 160, 192–93n Blackmail, 4, 15–27, 29, 63, 64, 65, 81, 103, 112, 121, 128, 156, 157, 171, 173, 176 Bonitzer, Pascal, 50 Brecht, Bertolt, 7, 39 Bruce, Nigel, 45 Burr, Raymond, 70 Butler, Judith, 145 D Day, Doris, 136, 196n De Lauretis, Teresa, 2, 6, 8–9, 62, 100, 142, 143–45, 146, 148–49, 155, 160, 191n defilement of women’s bodies, see pollution and defilement Deleuze, Gilles, 184n Denny, Reginald, 44 Deutsch, Helene, 148–49 Dial M for Murder, 171, 174 Didi-Huberman, Georges, 32, 38–39 Dietrich, Marlene, 5, 10, 117, 161, 174 distanciation, 7, 8, 39 Doane, Mary Ann, 7–8, 23–24, 52, 64, 65, 77, 143 Doisneu, Robert, 23–24 Doty, Alexander, 165–66 Douchet, Jean, 69 Douglas, Mary, 109, 113 du Maurier, Daphne, 2, 41–42, 52–53, 94, 123, 134, 145, 170, 188n 205 free ebooks ==> www.ebook777.com 206  Index Durgnat, Raymond, 20, 44, 103, 185n, 193n Dworkin, Ronald, 15 E Edelman, Lee, 130, 138–42, 151, 155, 159, 160–65, 166–67, 174 Esme, Percy, 30 F fathers, Hitchcock as “monstrous”; 122; in Blackmail, 16, 18; in The Man Who Knew Too Much (1956), 196n; in Notorious, 55, 56, 59, 62, 64, 66, 189n; in psychoanalytic theory, 37, 44, 46, 47–48, 61–62, 95, 100, 118, 145, 148; in Shadow of a Doubt, 12; in Stage Fright, 117, 118, 181; in Stella Dallas Felman, Shoshana, 24, 96 fetish and fetishism, 5, 7, 23–24, 32, 69, 98, 110, 114, 119, 146, 147–48 Fetterley, Judith, 22 film noir, 48, 50, 52, 58, 59, 60 Finch, Jon, 104 Firestone, Shulamith, 162 Fischer, Lucy, 170n Fontaine, Joan, 43, 55 fort/da game, 11, 46, 66 Foster, Barry, 104 Frenzy, 39, 42, 103–15, 156, 167, 173, 179, 180, 193n, 194n Freud, Sigmund, on anal stage, 148; on bisexuality, 6, 10, 53; on “cannibalistic” stage, 11, 113, 193n; on dreams, 4, 11, 12, 74; on incorporation, 111, 193; on femininity, 24, 42, 48, 98–99, 100, 117–18; on fort/da, 11, 66; on jokes, 17, 23–24; on mourning and melancholia, 97–98, 101, 192n; on narcissism, 79, 97, 117–18; on narcissistic identification, 101; on oral stage, 111, 140, 148; on paranoia, 36, 78; on the primal scene, 137; on repetition, 99, 192n; on the uncanny, 94; 192n See also oedipal; preoedipal Friday the Thirteenth, 15 Fuss, Diana, 155 Grant, Cary, 55, 58, 92, 158, 173 guilt, 14, 14, 17, 21, 22, 23, 25–27, 29, 33–34, 35, 60, 69, 107, 109, 110, 117, 118–19, 161, 185n; transference of, 13, 22, 112 H Hall, Radclyffe, 144 Halloween, 15 Hardwicke, Sir Cedric, 55 Haskell, Molly, 7, 183n Heath, Stephen, 38, 188n, 189n, 190n, 191n Hedren, Tippi, 164 Hegel, G.W.F., 62 Helmore, Tom, 90 Herrmann, Bernard, 173 Hitchcock, Patricia, 122, 163 homophobia, 137, 138, 139, 142, 149, 151, 157, 159, 160 homosexuality/homoeroticism/gay desire, 125, 137, 141–42, 158–59, 162–64, 166 See also gay male criticism; queer theory and criticism Horwitz, Margaret, 129 Hunter, Evan, 164 hysteria, 12, 19, 29–39, 108, 118, 124, 158 I identification, cinematic, 2, 4, 8, 9, 19, 39, 46, 52, 53, 69, 89, 94, 97, 111, 130, 135, 153–54, 173; identification and desire, 101, 145, 154–55, 160; with women in Hitchcock films, 2, 3, 5, 6, 8–12, 22, 27, 36, 37, 39, 47, 42, 52, 53, 63, 64, 77–79, 94–95, 96–97, 100, 140–41, 143, 145, 154, 156, 159 See also overidentification; spectators incest, 61, 111, 133, 136, 147, 149 incorporation, psychic, 103, 111, 145, 167, 193n Irigaray, Luce, 33, 39, 51 J Jameson, Fredric, 3, 121–22, 150 Jardine, Alice, 12 jokes, 16, 17–18, 23–25, 50, 81, 186n See also laughter G K gay male criticism, 137–42, 151, 155 Giving Up the Ghost, 144 Goldberg, Jonathan, 161–62, 164 Gothic, female, 2, 42, 55, 58, 59, 78, 94, 123, 127, 172, 188n Granger, Farley, 163 Kaplan, E Ann, Kapsis, Robert E 125–29 Kelly, Grace, 70, 72, 77, 78, 91, 195n King Lear, 18 Klein, Melanie, 167 Klein, Richard, 27 www.ebook777.com free ebooks ==> www.ebook777.com Index  207 Koch, Gertrud, 6, Kofman, Sarah, 94, 95, 100, 117 Konstam, Phyliss, 29 Knapp, Lucretia, 142, 143, 146–47, 160 Kristeva, Julia, 6, 14, 109–10, 111, 135, 149, 193n Kuhn, Annette, 183n L Lacan, Jacques, 2, 11, 32, 33, 75, 95, 123–24, 132, 139, 141 Landis, Jessie Royce, 173 Laplanche, Jean, 154, 167 Laplanche, Jean and J.-B Pontalis, 52, 149, 154, 167 laughter, 17, 18, 20, 24, 51 See also jokes Laura, 50 Leigh, Janet, 109, 114, 115, 192n Leigh-Hunt, Barbara, 104 Lemoine-Luccioni, Eugénie, 46, 47 Lesage, Julia, 5, lesbians and lesbianism, 125, 137, 142–150, 151, 155, 160–161, 165–66, 168 Lévi-Strauss, Claude, 25, 103, 107, 108, 109, 111 Lifeboat, 173 Linderman, Deborah, 19 Longden, John, 16, 26 Lotman, Jurij, 62 Lurie, Susan, 2, 72, 129, 190n M MacKinnon, Catharine, 15 Man Who Knew Too Much, The (1956), 136, 170, 173 Marnie, 5, 27, 48, 74, 93, 95, 104, 124, 125–29, 142, 146–47, 155, 157–58, 171, 172, 174, 192n, 195n Marsh, Jean, 105 Marshall, Herbert, 29, 36 masochism, 66, 78, 87, 89, 176, 177; female, 2, 4, 15, 23–25, 59, 64, 65, 68, 100, 115, 122, 155, 164, 165, 172; male, 9, 10–12, 13, 64, 67, 99, 100, 115, 120, 158, 177, 184n masquerade, feminine, 7, 23, 31, 32, 34, 37, 51, 65, 92, 119 Massey, Anna, 104 matricide, 8, 14, 142–150 matrophobia, 8, 14, 109, 151 Mayne, Judith, McCowen, Alex, 105 melancholia, 97–98, 101, 192n Merchant, Vivien, 105 Metz, Christian, 7, 11, 74, 121 Miller, D A., 137, 138, 143, 155, 159, 160–61, 165, 166–67, 171 Miller, Mark Crispin, 188n mirror phase, 11, 33, 38, 74–75 misogyny, 3, 4, 8, 15, 23, 75, 76, 111, 113, 115, 126, 137, 151, 155, 156, 157, 159, 161, 163, 166 Moraga, Cherríe, 144 mothers and mother figures, in The Birds, 5, 129, 130–31, 135; in Blackmail, 16; in The Man Who Knew Too Much, 136; in Marnie, 48, 128–29, 130, 146–148; in North by Northwest, 135, 173; in Notorious, 5, 57, 58, 59, 61–62, 63; in Psycho, 4, 5, 13, 154, 169; in psychoanalytic theory, 4, 6–8, 10–12, 37, 44, 45–49, 64, 66–67, 95, 99–101, 108, 109, 112, 118, 135–36, 143–45; 147–50, 167; in Rebecca, 5, 44, 45, 47–48, 50, 51, 143–46, 170; in Shadow of a Doubt, 133, 136; in Stage Fright, 119; in Vertigo, 5, 96, 101 Mulvey, Laura, 1, 2, 5, 9, 10–11, 13, 18, 37, 49, 50, 69, 72, 73, 79, 89, 138, 140 Murder!, 4, 12, 29–39, 82, 83, 108, 120, 171–72 N narcissism, 67, 79, 97, 117–18, 135 narcissistic identification, 96, 101 narrativity, 78–79 Nietzsche, Friedrich, 33, 35–36, 39 North by Northwest, 92, 135, 163, 172, 173 Notorious, 2, 4, 5, 55–68, 86, 87, 88, 138, 158, 164, 165, 166, 172, 189n, 192n, 193n Novak, Kim, 90 Nowell-Smith, Geoffrey, 188n O oedipal stage, female, 2, 42, 44, 62, 84, 100, 149, 169; male, 2, 10, 11, 37, 42, 61, 62, 64, 66, 67, 113, 118, 137, 149, 196n Oedipus Rex, 38, 61, 62, 67 Olivier, Laurence, 43 Ondra, Anny, 16, 19 overidentification, 7–8, 14, 39, 42, 65, 101, 145 P paranoia, 12, 36–37, 59, 78 patriarchal capitalism, 126 patriarchal cinema, 118–19, 122, 182 Pearson, Roberta, see Stam, Robert and Roberta Pearson Perkins, Anthony, 109 free ebooks ==> www.ebook777.com 208  Index Philadelphia, 163 Piso, Michele, 126–129, 174 Polan, Dana, 63 Pollack, Griselde, 188n pollution and defilement of the female body, 104–15, 118, 119, 173 Pontalis, J.-B., see Laplanche, Jean and J.-B Pontalis pre-oedipal stage, female, 6, 7, 8, 142–44, 147–48; male 10, 11, 66 Psycho, 1, 5, 8, 13, 15, 33, 104, 108, 109, 110, 113–15, 135, 138, 154, 165–66, 167, 169, 173, 192n Q queer theory and criticism, 125, 142–43, 146, 148, 154–68 R Rains, Claude, 55, 172 rape and sexual violence, 13, 14, 15, 18, 20, 22, 27, 42, 61, 78, 103–104, 106–7, 111, 112, 114–15, 126–28 131, 153, 157–58, 162, 169, 171, 185n, 194n Rear Window, 3, 4, 8, 42, 69–88, 89, 91, 138–41, 153, 160, 161, 170, 172–73, 175 Rebecca, 1, 2, 4, 5, 7, 41–53, 55, 73, 84, 85, 89, 100, 109, 123, 133, 134, 142–146, 160, 161, 170, 171, 172, 173, 188n, 195n Reik, Theodor, 65, 78 Rich, Adrienne, 15 Rich, B Ruby, 5, 6, Ritchard, Cyril, 16, 21 Ritter, Thelma, 42, 70, 172 Rodowick, D N., Rohmer, Eric and Claude Chabrol, 20, 22, 25, 109 Rope, 137, 166–67, 173 Rothman, William, 120–122, 124, 158, 169 S Sabotage, 171 Saboteur, 173 sadism, 10, 11–12, 25, 64, 65, 87, 98, 99, 100, 164 sadomasochism, 12, 147–48, 160 Said, Edward, 14 Saint, Eva Marie, 92 Sanders, George, 44 Sartre, Jean-Paul, 60, 103, 119 Scholes, Robert, 78 Schreber, Dr., 36–37, 78, 120 Schwartz, Adria E., 145 Sedgwick, Eve Kosofsky, 37, 120, 166, 167 Selznick, David O., 41–42, 133 sexual violence, see rape and sexual violence Shadow of a Doubt, 12, 55, 72, 109, 133, 163, 173 Shayne, Konstantine, 90 Shepard, Matthew, 142, 155, 159, 162 Silverman, Kaja, 10, 11, 12, 33, 50, 66, 74, 138, 184n, 190n Sirk, Douglas, 39 Smith, Susan, 130–32 Sophocles, 61 Spectators, 10, 13, 19, 20, 38–39, 47, 49, 63, 64, 67, 68, 69, 74, 78, 80, 93, 95, 98, 100, 106m, 110, 111, 114, 115, 126, 154, 156, 161, 171; female, 2, 4, 5–8, 9, 22–24, 64, 65, 76–78, 89, 115–18, 148, 154, 155; male, 4, 9, 10–12, 15, 19, 24, 27, 52, 57, 69, 74, 89, 110, 145, 151, 154, 155, 158 See also masochism; masquerade; transvestism Spellbound, 55, 166 Spoto, Donald, 20, 60, 65, 94, 96, 103, 104, 107, 114, 115 Stage Fright, 117–119, 161, 173, 181, 182 Staiger, Janet, 129 Stam, Robert and Roberta Pearson 190n Stella Dallas, Stewart, James, 42, 69, 72, 77, 90, 101, 151, Stewart, Susan, 75, 173 Strangers on a Train, 122, 162, 163, 166, 171, 172 Studlar, Gaylyn, 9, 10–12 Suspicion, 55 suture, 48, 50 Swift, Clive, 105 T Taylor, Anna Marie, Taylor, John Russell, 20, 21, 23 theater and theatricality, 13, 14, 29, 30, 32–33, 38, 39, 117, 118, 119, 120–21, 143, 172, 174 39 Steps, The, 173 To Catch a Thief, 173 transvestism, 6, 23–24, 52, 100 triangular relations, 19, 23, 34, 42, 60, 64, 79, 93 Truffaut, Franỗois, 41, 52, 77, 78, 94, 98, 133, 134 U uncanny, the, 5, 14, 94, 123, 169, 192n Under Capricorn, 172 www.ebook777.com free ebooks ==> www.ebook777.com Index  209 V Vertigo, 1, 2, 3, 4, 5, 13, 69, 89–101, 106, 110, 134, 147, 150, 155, 156, 172, 173, 176, 177, 178, 189n Von Sternberg, Josef, 10 voyeurism, 1, 6, 7, 13, 29, 31, 58, 69, 71, 77, 79, 138, 151 W Wagner, Richard, 33, 36 Walker, Robert, 163 Weis, Elizabeth, 163n Well of Loneliness, The, 144 Wexman, Virginia Wright, 106, 189n White, Patricia, 142, 144, 146, 151, 159–61, 195n White, Susan, 150 Whitelaw, Billie, 105 Willemen, Paul, 39 Williams, Linda, 6, 7, 15, 69, 166 Wollen, Peter, 133 woman’s film, the, 7, 42, 44 Wood, Robin, 2–3, 41, 43, 69, 74, 89, 107, 121, 122, 155–59, 162, 164, 191n Woolf, Virginia, 73 Wyman, Jane, 117, 161 Y Yacowar, Maurice, 18, 21, 34–36 Z Žižek, Slavoj, 123–24, 129, 132–137, 141, 157, 170, 195n ... www.ebook777.com THE WOMEN WHO KNEW TOO MUCH Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism The book consists of a theoretical... for feminist film theory Yet Tania Modleski’s The Women Who Knew Too Much: Hitchcock and Feminist Theory has become one of those touchstone critical projects central to feminism because the book... men: Frank and the artist; the artist and the film’s spectator; Frank and the blackmailer; and Frank and the laughing detective One of the most famous shots occurs in the artist’s studio and involves