Hitchcock's motifs
著者
書誌事項
Hitchcock's motifs
（Film culture in transition）
Amsterdam University Press, c2005
- : pbk.
- : hbk
大学図書館所蔵 全2件
注記
Includes bibliographical references (p. [421]-429)
Filmography: p.[431]-462
内容説明・目次
- 巻冊次
-
: pbk. ISBN 9789053567722
内容説明
Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place.
- 巻冊次
-
: hbk ISBN 9789053567739
内容説明
Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place.
目次
Table of Contents - 8[-]Acknowledgements - 14[-]Introduction - 16[-]Part I Hitchcock, Motifs and Melodrama - 24[-]Part II The Key Motifs - 56[-]BED SCENE - 58[-]CAMEO APPEARANCES - 88[-]CHILDREN - 99[-]DOGS AND CATS - 143[-]DOUBLES - 147[-]ENDINGS AND THE POLICE - 155[-]ENTRY THROUGH A WINDOW - 159[-]EXHIBITIONISM / VOYEURISM / THE LOOK - 165[-]EXHIBITIONISM / VOYEURISM - 165[-]SPY FILMS / THE LOOK - 172[-]FOOD AND MEALS - 180[-]GUILTAND CONFESSION - 202[-]HANDCUFFS AND BONDAGE - 215[-]HANDS - 221[-]HEIGHTS AND FALLING - 239[-]HOMOSEXUALITY - 249[-]JEWELLERY - 263[-]KEYS AND HANDBAGS - 270[-]KEYS - 271[-]HANDBAGS - 278[-]LIGHT(S) - 287[-]THE MACGUFFIN - 297[-]MOTHERS AND HOUSES - 308[-]PORTRAITS, PAINTINGS AND PAINTERS - 320[-]PORTRAITS - 321[-]PAINTINGS - 328[-]PAINTERS - 330[-]PUBLIC DISTURBANCES - 336[-]SPECTACLES - 345[-]STAIRCASES - 351[-]TRAINS AND BOATS / PLANES AND BUSES - 374[-]TRAINS - 375[-]BOATS - 379[-]PLANES - 382[-]BUSES - 385[-]WATER AND RAIN - 389[-]WATER - 389[-]RAIN - 394[-]BED SCENE - 403[-]CHILDREN - 404[-]CONFINED SPACES - 406[-]THE CORPSE - 408[-]DOUBLES - 409[-]FOOD AND MURDER / ENDINGS AND THE POLICE - 411[-]LIGHTS - 413[-]BOATS - 415[-]Appendix II: Articles on Hitchcock's motifs - 417[-]Appendix III: Definitions - 419[-]Diegesis - 419[-]Point-of-view editing - 419[-]References - 422[-]Filmography - 432[-]List of illustrations - 464[-]Index of Hitchcock's films and their motifs - 468[-]General Index - 482[-]
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