![]() ![]() (and quite persuasively) argues for Hitchcock as a disciple of Schopenhauer's World as Will and Representation. Mogg, K., The Alfred Hitchcock Story (London: Titan Books, 1999) most persistently Yanal, R.J., Hitchcock as philosopher (Jefferson: McFarland & Co., 2005). Brookhouse (New London: Hitchcock Annual Corporation, 2000), 100–30.Īllen, R., "Hitchcock, or the pleasures of meta-skepticism", in October, no. Gottlieb, S., "Early Hitchcock: The German Influence", in Hitchcock Annual 1999– 2000, ed. Hutchings, P.J., "Modernity: a film by Alfred Hitchcock", in Senses of Cinema, no. Gottlieb (New London: Hitchcock Annual Corporation, 2001), 163–73. Perry, D.R., "Bibliography of Scholarship Linking Alfred Hitchcock and Edgar Allan Poe", in Hitchcock Annual 2000–2001, ed. ![]() Samuels, R., Hitchcock's bi-textuality: Lacan, Feminisms, and Queer Theory (Albany: State University of New York Press, 1998).Ĭohen, P.M., Alfred Hitchcock: The Legacy of Victorianism (Lexington: University Press of Kentucky, 1995). Simone, S.P., Hitchcock As Activist: Politics and the War Films (Ann Arbor: UMI Research Press, 1985). Robinson, M.J., The Poetics of Camp in the Films of Alfred Hitchcock in Rocky Mountain Review, vol. Corber, R.J., In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Durham: Duke University Press, 1993). Price, T., Hitchcock and Homosexuality: his 50-year Obsession with Jack the Ripper and the Superbitch Prostitute: A Psychoanalytic View (Metuchen: Scarecrow Press, 1992). Modleski, T., The Women who Knew Too Much: Hitchcock and Feminist Theory (New York: Routledge, 1988). ![]() Kelly, D., "Oedipus at Los Angeles: Hitch and the Tragic Muse", in Senses of Cinema, no. Lee, S.H., "Alfred Hitchcock: Misogynist or Feminist?", in Post Script, vol. Pereira (Lisbon: ISPA, 1996) or Moral, T.L., Hitchcock and the Making of Marnie (Manchester: Manchester University Press, 2003). See Holland, N.N., "Hitchcock's Vertigo: One Viewer's Viewing", in Literature and Psychoanalysis: Proceedings of the 13th International Conference on Literature and Psychoanalysis, Boston (USA), ed. Love, lust and death are the words used for the Scottie-Madeleine relation in Vertigo, or to typify the attraction-repulsion between Mark and Marnie in Marnie. Silbergeld, J., Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (Seattle: University of Washington Press, 2004).īrill, L., The Hitchcock Romance: Love and Irony in Hitchcock's Films (Princeton: Princeton University Press, 1988). Santas, C., "The Remake of Psycho (Gus Van Sant, 1998): Creativity or Cinematic Blasphemy?", in Senses of Cinema (Great Director series, no date) Žižek, S., "Is there a proper way to remake a Hitchcock film?", Lacanian Ink. Most of these artists were brought together in the group show Notorious: Alfred Hitchcock and Contemporary Art, a 1999 exhibition at the Museum of Modern Art, Oxford. "Hitchcock is already everywhere in American culture-in video stores and on cable TV, in film courses and in a stream of critical studies and biographies that shows no sign of letting up, in remakes and re-workings and allusions that mine the oeuvre as a kind of folklore." See O'Brien, G., "Hitchcock: The Hidden Power", in New York Review of Books, vol.
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