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Hitchcock's motifs

Author: Michael Walker
Publisher: Amsterdam : Amsterdam University Press, 2005.
Series: Film culture in transition.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
Hitchcock's work through his recurring motifs.
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Walker, Michael.
Hitchcock's motifs.
Amsterdam : Amsterdam University Press, 2005
(OCoLC)62768303
Named Person: Alfred Hitchcock; Alfred Hitchcock
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Michael Walker
ISBN: 1423746295 9781423746294 9789048505456 9048505453
OCLC Number: 62868619
Description: 1 online resource (490 pages) : illustrations.
Contents: Part I. Hitchcock, Motifs and Melodrama. Introduction --
Three motifs. Home movies --
Cigarette case/lighter --
Milk --
Melodrama and Hitchcock's motifs --
An elaborated motif: the Bed Scene in Rebecca and Marnie --
A melodramatic motif: hands --
Diagrammatic representations --
Overview of the key motifs --
Part II. The Key Motifs. BED SCENE --
Couples and beds --
Beds and the police --
BLONDES AND BRUNETTES --
CAMEO APPEARANCES --
Cameos and the police --
CHILDREN --
Children's cameos --
Family members --
Children and violence --
Children and the police --
CONFINED SPACES --
Bathrooms and washrooms --
Confinement and concealment --
Cages and bars: fears of imprisonment --
Washrooms and the police --
THE CORPSE --
The heroines --
The heroes --
The villains --
Corpses and the police --
DOGS AND CATS --
Dogs and the police --
DOUBLES --
Doubles and the police --
ENDINGS AND THE POLICE --
ENTRY THROUGH A WINDOW --
Entry through a window and the police --
EXHIBITIONISM / VOYEURISM / THE LOOK --
EXHIBITIONISM / VOYEURISM --
SPY FILMS / THE LOOK --
Exhibitionism, voyeurism and the police --
FOOD AND MEALS --
Food and marriage --
Food and sex --
Food and murder --
Food and guilt --
Chickens and eggs --
Table talk and fascism --
Food and the police --
GUILTAND CONFESSION --
Catholic overtones --
Guilt and Hitchcock's villains --
Transference of guilt --
Guilt, confession and the police --
HANDCUFFS AND BONDAGE --
HANDS --
Male hands/female hands --
Held wrists --
Damaged hands --
Holding hands --
Hands and the police --
HEIGHTS AND FALLING --
Heights, falling and the police --
HOMOSEXUALITY --
Critical positions --
Gay undercurrents --
Espionage and the look --
Ivor Novello --
Homosexuality and the police --
JEWELLERY --
Greed --
Status --
Female desire --
Female beauty/male power --
Male murderousness --
Jewellery and the police --
KEYS AND HANDBAGS --
KEYS --
Keys and handbags --
HANDBAGS --
Handbags and keys --
Keys, handbags and the police --
LIGHT(S) --
Vampires and blinding --
Murder and homosexuality --
Lights and the police --
THE MACGUFFIN --
The MacGuffin and the police --
MOTHERS AND HOUSES --
Mothers and the police --
PORTRAITS, PAINTINGS AND PAINTERS --
PORTRAITS --
PAINTINGS --
Modern art --
PAINTERS --
Portraits, paintings and the police --
PUBLIC DISTURBANCES --
Public disturbances and the police --
SPECTACLES --
Spectacles and the police --
STAIRCASES --
Hitchcockian levels --
Political variations --
Sinister staircases --
Freudian overtones --
Couples and staircases --
Staircases and the police --
TRAINS AND BOATS / PLANES AND BUSES --
TRAINS --
BOATS --
PLANES --
BUSES --
Trains and boats and the police --
WATER AND RAIN --
WATER --
RAIN --
Water and the police --
Appendix I: TV Episodes. BED SCENE --
CHILDREN --
CONFINED SPACES --
THE CORPSE --
DOUBLES --
FOOD AND MURDER / ENDINGS AND THE POLICE --
LIGHTS --
BOATS --
Appendix II: Articles on Hitchcock's motifs --
Appendix III: Definitions. Diegesis --
Point-of-view editing.
Series Title: Film culture in transition.
Responsibility: Michael Walker.
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