Jump to: navigation, search

Cinema Journal (1987) - Hitchcock's "The Paradine Case" and Filmic Unpleasure

Details

Links

Article

Notes & References

  1. ↑ Christian Metz, The Imaginary Signifier, tr. Celia Britton et al. (Bloomington: Indiana University Press, 1982), 111.
  2. ↑ For discussions of the production of The Paradine Case, see Memo from David O. Selznick, ed. Rudy Behlmer (New York: The Viking Press, 1972); and Ronald Haver, David O. Selznick's Hollywood (New York: Alfred A. Knopf, 1980).
  3. ↑ François Truffaut, Hitchcock, rev. ed. (New York: Simon & Schuster, 1984), 173.
  4. ↑ "Visual Pleasure and Narrative Cinema," Screen 16 (Autumn 1975): 6-18. For amplifications and critiques of Mulvey's thesis, see especially D. N. Rodowick," The Difficulty of Difference," Wide Angle 5, no. 1 (1982): 4-15; Mulvey's "Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by Duel in the Sun," Framework 15/16/17 (Summer 1981): 12-15; Gaylyn Studlar, "Masochism and the Perverse Pleasures of the Cinema," Quarterly Review of Film Studies 9 (Fall 1984): 267-82; and E. Ann Kaplan, "Is the Gaze Male?" in Women and Film: Both Sides of the Camera (New York: Metheun, 1983), 23-35.
  5. ↑ Truffaut, Hitchcock, 173.
  6. ↑ Donald Spoto, The Dark Side of Genius: A Life of Alfred Hitchcock (New York: Little, Brown, 1983), 294.
  7. ↑ Truffaut, Hitchcock, 174. See Hitchcock's comment to Peter Bogdanovich (The Cinema of Alfred Hitchcock [New York: The Museum of Modern Art, 1963], 28): "For me, the casting [of The Paradine Case] screwed up all the values and the whole basic situation."
  8. ↑ This formulation is borrowed from Mary Ann Doane, "The 'Woman's Film': Possession and Address," in Re-Vision: Essays in Feminist Film Criticism, ed. May Ann Doane, et al. (Frederick, Md.: University Publications of America, 1984), 75.
  9. ↑ The portrait of General MacLaidlaw serves a similar patriarchal function in Hitchcock's Suspicion (1941).
  10. ↑ Sigmund Freud, "Fetishism," The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. and trans. James Strachey, 21 (London: Hogarth, 1953), 154.
  11. ↑ David Bordwell, "Happily Ever After, Part Two," The Velvet Light Trap 19, no. 2 (1982): 2-7.
  12. ↑ Hitchcock generally reserves this shot for moments when a criminal (or a suspected criminal) has walked into a trap: see, for example, the endings of The 39 Steps and Stage Fright as well as Thornhill's flight from the UN in North by Northwest.
  13. ↑ The concept of the progressive Hollywood text as used here was first developed, following Louis Althusser, in Jean-Louis Comolli and Jean Narboni, "Cinema/Ideology/Criticism," Screen Reader 1 (London: SEFT, 1977): 2-11, reprinted from Cahiers du Cinema, Oct.-Nov. 1969. For an important critique of this concept, especially as it has been applied by others, see Barbara Klinger, "'Cinema/Ideology/Criticism' Revisited: The Progressive Text," Screen 25 (Jan.-Feb. 1984): 30-44.
  14. ↑ The quoted phrases are from Klinger, 35, 40.
  15. ↑ Klinger, "Cinema/Ideology/Criticism Revisited," 42.
  16. ↑ Teresa de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 153.

Retrieved from ‘http://the.hitchcock.zone/w/index.php?title=Cinema_Journal_(1987)_-_Hitchcock%27s_%22The_Paradine_Case%22_and_Filmic_Unpleasure&oldid=186654’