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Alfred Hitchcock: The Legacy of Victorianism by
This provocative study traces Alfred Hitchcock's long directorial career from Victorianism to postmodernism. Paula Marantz 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 leading masters of the modern medium of film. Cohen posits that Hitchcock's films are, in part, a masculine response to the domestic, psychological novels that had appealed primarily to women during the Victorian era. His career, she argues, can be seen as an attempt to balance "the two faces of Victorianism": the masculine legacy of law and hierarchy and the feminine legacy of feeling and imagination. Cohen asserts that Hitchcock's films reflect his Victorian legacy and serve as a map for ideological trends. She charts his development from his British period through his classic Hollywood years into his later phase, tracing a conceptual evolution that corresponds to an evolution in cultural identity--one that builds on a Victorian inheritance and ultimately discards it.
Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance by 
A Companion to Alfred Hitchcock by
The most comprehensive volume ever published on Alfred Hitchcock, covering his career and legacy as well as the broader cultural and intellectual contexts of his work. Contains thirty chapters by the leading Hitchcock scholars Covers his long career, from his earliest contributions to other directors' silent films to his last uncompleted last film Details the enduring legacy he left to filmmakers and audiences alike
Critical Media Studies: An Introduction by
Fully revised to reflect today's media environment, this new edition of Critical Media Studies offers students a comprehensive introduction to the field and demonstrates how to think critically about the power and influence of media in our daily lives. Material new to this edition includes a chapter on sociological analysis and reveals new ways audiences use media in their everyday lives to manage social roles, relationships, and contexts. Readers will also appreciate the extensive updating of previously discussed examples to reflect contemporary industry standards, textual forms, and audience behaviors and the inclusion of more international material to reflect contemporary media's global reach. Continuing its well-received writing style that is both engaging and accessible, the book's twelve perspectives provide readers with a diverse array of critical approaches to media studies, including original approaches such as erotic, sociological, and ecological analysis. Combining the best of well-tested theory with cutting-edge scholarship, this new edition of Critical Media Studies, offers invaluable insights into our current understanding of the nature and consequences of media in today's world. Updated and enhanced online resources for instructors - including PowerPoint slides, test bank, study guides, and sample assignments - can be found at www.wiley.com/go/criticalmediastudies.
Desire in the Renaissance: Psychoanalysis and Literature by
Drawing on a variety of psychoanalytic approaches, ten critics engage in exciting discussions of the ways the "inner life" is depicted in the Renaissance and the ways it is shown to interact with the "external" social and economic spheres. Spurred by the rise of capitalism and the nuclear family, Renaissance anxieties over changes in identity emerged in the period's unconscious--or, as Freud would have it, in its literature. Hence, much of Renaissance literature represents themes that have been prominent in the discourse of psychoanalysis: mistaken identity, incest, voyeurism, mourning, and the uncanny. The essays in this volume range from Spenser and Milton to Machiavelli and Ariosto, and focus on the fluidity of gender, the economics of sexual and sibling rivalry, the power of the visual, and the cultural echoes of the uncanny. The discussion of each topic highlights language as the medium of desire, transgression, or oppression. The section "Faking It: Sex, Class, and Gender Mobility" contains essays by Marjorie Garber (Middleton), Natasha Korda (Castiglione), and Valeria Finucci (Ariosto). The contributors to "Ogling: The Circulation of Power" include Harry Berger (Spenser), Lynn Enterline (Petrarch), and Regina Schwartz (Milton). "Loving and Loathing: The Economics of Subjection" includes Juliana Schiesari (Machia-velli) and William Kerrigan (Shakespeare). "Dreaming On: Uncanny Encounters" contains essays by Elizabeth J. Bellamy (Tasso) and David Lee Miller (Jonson).
Feminism and Psychoanalytic Theory by
In this long-awaited book, a leading psychoanalytic feminist traces the development of her views on the psychodynamics, sociology, and culture of gender. Expanding upon her pathbreaking work in The Reproduction of Mothering and combining significant new writings with previously published essays, Nancy J. Chodorow elucidates how the unconscious awareness of self and gender we develop from earliest infancy continues to shape both our experience as men and women and the patterns of inequality and difference that exist throughout our society and culture. "Chodorow is an exceptionally intelligent and serious writer, and her contribution to the debate on gender and sexual identity is substantial. . . . Through her deepening reflections on gender issues and her study of the reality of women's lives, Ms. Chodorow puts both Freud and feminism to the test."--Stuart Schneiderman, New York Times Book Review "In [a book] teeming with ideas, Chodorow . . . explores issues such as the influence of maternal care on the emerging self, social oppression of women on the basis of presumed gender differences, Oedipal conglict, heterosexual identification, and women analysts."--Publishers Weekly "These essays are as good a statement of the issues in feminist psychoanalysis or psychoanalytic feminism as I have seen, reflecting the knowledge and questions of an 'insider' in both areas. One is impressed by the richness of the implications drawn from observed constellations or relationships. This is book that should be of interest to a wide audience."--Malkah T. Notman, M.D., Journal of the American Psychoanalytic Association "All readers will profit from reading all of the articles in historical sequence. Her own changes reflect some general trends in feminist and social science thought."--Miriam M. Johnson, Contemporary Sociology
Film, Lacan and the Subject of Religion: A Psychoanalytic Approach to Religious Film Analysis by
In their study of religion and film, religious film analysts have tended to privilege religion. Uniquely, this study treats the two disciplines as genuine equals, by regarding both liturgy and film as representational media. Steve Nolan argues that, in each case, subjects identify with a represented 'other' which joins them into a narrative where they become participants in an ideological 'reality'. Finding many current approaches to religious film analysis lacking, Film, Lacan and the Subject of Religion explores the film theory other writers ignore, particularly that mix of psychoanalysis, Marxism and semiotics - often termed Screen theory - that attempts to understand how cinematic representation shapes spectator identity. Using translations and commentary on Lacan not originally available to Screen theorists, Nolan returns to Lacan's contribution to psychoanalytic film theory and offers a sustained application to religious practice, examining several 'priest films' and real-life case study to expose the way liturgical representation shapes religious identity. Film, Lacan and the Subject of Religion proposes an interpretive strategy by which religious film analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice. In their study of religion and film, religious film analysts have tended to privilege religion. Uniquely, this study treats the two disciplines as genuine equals, by regarding both liturgy and film as representational media. Steve Nolan argues that, in each case, subjects identify with a represented 'other' which joins them into a narrative where they become participants in an ideological 'reality'. Finding many current approaches to religious film analysis lacking, Film, Lacan and the Subject of Religion explores the film theory other writers ignore, particularly that mix of psychoanalysis, Marxism and semiotics - often termed Screen theory - that attempts to understand how cinematic representation shapes spectator identity. Using translations and commentary on Lacan not originally available to Screen theorists, Nolan returns to Lacan's contribution to psychoanalytic film theory and offers a sustained application to religious practice, examining several 'priest films' and real-life case study to expose the way liturgical representation shapes religious identity. Film, Lacan and the Subject of Religion proposes an interpretive strategy by which religious film analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice.
Freudian Passions by
Freud's thinking about the unconscious has always been seen to be more about representations than affects. When it came to the passions of the transference and the demands of his hysterical patients, Freud was always more interested, wanted to move the focus away from the transference, and onto dreams. Hidden wishes more than manifest ones were what captured his imagination and style.This book returns to the repressed theory of passions in Freud's own thinking, arguing that the repression, fixation and rhythmic movement of affects make up the roots and branches of psychoanalytic thinking. We can think of Freud's unconscious affects as a tree, with the most passionate and primitive affects that make up the core of our psychic life, moving and branching out into more elaborated emotions and representations. So what moves this tree: the house of our first passions? How we move the tree of our affects, or leave it, is integral to Freud's understanding of sexuality and the Oedipal Complex. Sexuality is the life force of our affects, the flows and the forms that connect us to other people, elaborating our egos. Contrary to many current theories of affect within sociology or psychology, psychoanalysis makes us understand that there is no such thing as affects without form. Or if there were such passions, we could know nothing about them. This is where this books starts, with the premise that affects are always in search of forms, but so often our affects are a return to earlier forms, to the first ones that dressed our passions.
Future of an Illusion: Film, Feminism, and Psychoanalysis by
Analyzes the primary movements that have shaped the field of feminist film theory. Essential to anyone studying the sexual politics of representation.
The Hanging Figure: On Suspense and the Films of Alfred Hitchcock by 
Hitchcock: Past and Future by
This new collection of writings on Alfred Hitchcock considers Hitchcock both in his time and as a continuing influence on filmmakers, films and film theory. The contributions, who include leading scholars such as Slavoj Zizek, Laura Mulvey, Peter Wollen, and James Naremore, discuss canonical films such as Notorious and The Birds alongside lesser-known works including Juno and the Paycock and Frenzy. Articles are grouped into four thematic sections: 'Authorship and Aesthetics' examines Hitchcock as auteur and investigates central topics in Hitchcockian aesthetics. 'French Hitchcock' looks at Hitchcock's influence on filmmakers such as Chabrol, Truffaut and Rohmer, and how film critics such as Bazin and Deleuze have engaged with Hitchcock's work. 'Poetics and Politics of Identity' explores the representation of personal and political in Hitchcock's work. The final section, 'Death and Transfiguration' addresses the manner in which the spectacle and figuration of death haunts the narrative universe of Hitchcock's films, in particular his subversive masterpiece Psycho.
Hitchcock at the Source: The Auteur As Adapter by
The adaptation of literary works to the screen has been the subject of increasing, and increasingly sophisticated, critical and scholarly attention in recent years, but most studies of the subject have continued to privilege literature over film by taking the literary sources as their starting point. Rather than examining the processes by which a particular author has been adapted into a diversity of films by different filmmakers, the contributors in Hitchcock at the Source consider the processes by which a varied range of literary sources have been transformed by one filmmaker into an impressive body of work. Throughout his career, Alfred Hitchcock transformed a variety of literary sources--novels, plays, short stories--into what is arguably the most coherent and distinctive (narratively, stylistically, and thematically) of all directorial oeuvres. After an introduction surveying the nature and diversity of Hitchcock's sources and locating the current volume in the context of theoretical work on adaptation, nineteen original essays range across the entirety of Hitchcock's career, from the silent period through to the 1970s. In addition to addressing the process of adaptation in particular films in terms of plot and character, the contributors also consider less obvious matters of tone, technique, and ideology; Hitchcock's manipulation of the conventions of literary and dramatic genres such as spy fiction and romantic comedy; and more general problems, such as Hitchcock's shift from plays to novels as his major sources in the course of the 1930s.
Modern Literary Theory and Ancient Texts: An Introduction by
This book provides students and scholars of classical literature with a practical guide to modern literary theory and criticism. Using a clear and concise approach, it navigates readers through various theoretical approaches, including Russian Formalism, structuralism, deconstruction, gender studies, and New Historicism. Applies theoretical approaches to examples from ancient literature Extensive bibliographies and index make it a valuable resource for scholars in the field
Partners in Suspense: Critical Essays on Bernard Herrmann and Alfred Hitchcock by
This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration. Featuring chapters by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work.
Sex, Love, and Romance in the Mass Media: Analysis & Criticism of Unrealistic Portrayals & their Influence by 
Trauma and Media: Theories, Histories, and Images by
This book provides the first comprehensive account of trauma as a critical concept in the study of modern visual media, from Freud to the present day, explaining how contemporary trauma studies emerged from research on Holocaust representation in which the audiovisual testimony of survivors was posed as an authentic alternative to popular television and film dramatizations. It argues that the media coverage of 9/11 and the subsequent 'war on terror,' however, has revealed how the formation of communities of witness and commemoration around 'traumatic events' can perpetuate violence and inequality. The book explains how Benjamin, Adorno and Barthes, drawing from psychoanalysis, analyzed the roles of fantasy, ideology and collective identification in mass media, and began to understand trauma as an authentic experience of modernity. It proposes that the insights of these earlier theorists, along with more recent arguments by Derrida, Agamben and Zizek, continue to provide important perspectives on today's politics of mediated shock and terror.
Vertigo: The Making of a Hitchcock Classic by
Alfred Hitchcock's 1958 film Vertigo - in which obsessve ex-cop James Stewart pursues troubled loner Kim Novak throughout San Francisco - is one of the most dissected, discussed, and revered movies of all time. Now, for the first time, the story of this remakable film is revealed. Writing with the full cooperation of the director's family and many crew members, Dan Auiler offers up a remarkable in-deph re-creation of Hitchcock's signature thriller. The result is one of the most thorough andilluminating studies of a single film ever published, and a testament to the enduring power of Hitchcock's masterwork of suspense.
