02685nam 2200553 450 991078747160332120200520144314.00-8131-0850-00-8131-5779-X(CKB)3710000000334197(EBL)1915370(SSID)ssj0001401356(PQKBManifestationID)12632085(PQKBTitleCode)TC0001401356(PQKBWorkID)11345213(PQKB)10599275(OCoLC)624382979(MdBmJHUP)muse43986(Au-PeEL)EBL1915370(CaPaEBR)ebr11009675(CaONFJC)MIL690936(OCoLC)900344768(MiAaPQ)EBC1915370(EXLCZ)99371000000033419720150206h19951995 uy 0engur|||||||nn|ntxtccrAlfred Hitchcock the legacy of Victorianism /Paula Marantz CohenLexington, Kentucky :The University Press of Kentucky,1995.©19951 online resource (218 p.)Includes index.1-322-59654-9 0-8131-1930-8 Includes bibliographical references (p. [169]-187) and index.Cover; Half-title; Title; Copyright; Contents; Acknowledgments; Introduction; 1 The Rise of Narrative Film; 2 Novel into Film: Sabotage; 3 Psychoanalysis versus Surrealism: Spellbound; 4 The Father-Daughter Plot: Shadow of a Doubt, Stage Fright, Strangers on a Train; 5 Digression: Rope, I Confess; 6 The Daughter's Effect: Rear Window, The Man Who Knew Too Much; 7 Transition: The Wrong Man, Vertigo; 8 The Emergence of Mother: Psycho; 9 Beyond the Family Nexus: Topaz, Frenzy, Family Plot; 10 After Hitchcock; Notes; IndexThis provocative study traces Alfred Hitchcock's long directorial career from Victorianism to postmodernism. Paula Cohen considers a sampling of Hitchcock's best films -- Shadow of a Doubt, Rear Window, Vertigo, Psycho -- as well as some of his more uneven ones -- Rope, The Wrong Man, Topaz -- and makes connections between his evolution as a filmmaker and trends in the larger society.Drawing on a number of methodologies including feminism, psychoanalysis, and family systems, the author provides an insightful look at the paradox of a Victorian-style gentleman who evolved into one of the leadi791.43/0233/092Cohen Paula Marantz1953-1473664MiAaPQMiAaPQMiAaPQBOOK9910787471603321Alfred Hitchcock3715722UNINA