Hitchcock's motifs /
Hitchcock's work through his recurring motifs.
Saved in:
| Online Access: |
Access full-text online via JSTOR |
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| Author / Contributor: | |
| Imprint: |
Amsterdam :
Amsterdam University Press,
2005.
|
| Format: | Electronic |
| Language: | English |
| Subjects: | |
| Series: | Film culture in transition.
|
MARC
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| 100 | 1 | |a Walker, Michael, |e author | |
| 245 | 1 | 0 | |a Hitchcock's motifs / |c Michael Walker. |
| 264 | 1 | |a Amsterdam : |b Amsterdam University Press, |c 2005. | |
| 300 | |a 1 online resource (490 pages) : |b illustrations. | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file |2 rda | ||
| 490 | 1 | |a Film culture in transition | |
| 504 | |a Includes bibliographical references (pages 421-429), filmography (pages 431-462) , and index. | ||
| 505 | 0 | 0 | |g Part I. |t Hitchcock, Motifs and Melodrama. |t Introduction -- |t Three motifs. |t Home movies -- |t Cigarette case/lighter -- |t Milk -- |t Melodrama and Hitchcock's motifs -- |t An elaborated motif: the Bed Scene in Rebecca and Marnie -- |t A melodramatic motif: hands -- |t Diagrammatic representations -- |t Overview of the key motifs -- |g Part II. |t The Key Motifs. |t BED SCENE -- |t Couples and beds -- |t Beds and the police -- |t BLONDES AND BRUNETTES -- |t CAMEO APPEARANCES -- |t Cameos and the police -- |t CHILDREN -- |t Children's cameos -- |t Family members -- |t Children and violence -- |t Children and the police -- |t CONFINED SPACES -- |t Bathrooms and washrooms -- |t Confinement and concealment -- |t Cages and bars: fears of imprisonment -- |t Washrooms and the police -- |t THE CORPSE -- |t The heroines -- |t The heroes -- |t The villains -- |t Corpses and the police -- |t DOGS AND CATS -- |t Dogs and the police -- |t DOUBLES -- |t Doubles and the police -- |t ENDINGS AND THE POLICE -- |t ENTRY THROUGH A WINDOW -- |t Entry through a window and the police -- |t EXHIBITIONISM / VOYEURISM / THE LOOK -- |t EXHIBITIONISM / VOYEURISM -- |t SPY FILMS / THE LOOK -- |t Exhibitionism, voyeurism and the police -- |t FOOD AND MEALS -- |t Food and marriage -- |t Food and sex -- |t Food and murder -- |t Food and guilt -- |t Chickens and eggs -- |t Table talk and fascism -- |t Food and the police -- |t GUILTAND CONFESSION -- |t Catholic overtones -- |t Guilt and Hitchcock's villains -- |t Transference of guilt -- |t Guilt, confession and the police -- |t HANDCUFFS AND BONDAGE -- |t HANDS -- |t Male hands/female hands -- |t Held wrists -- |t Damaged hands -- |t Holding hands -- |t Hands and the police -- |t HEIGHTS AND FALLING -- |t Heights, falling and the police -- |t HOMOSEXUALITY -- |t Critical positions -- |t Gay undercurrents -- |t Espionage and the look -- |t Ivor Novello -- |t Homosexuality and the police -- |t JEWELLERY -- |t Greed -- |t Status -- |t Female desire -- |t Female beauty/male power -- |t Male murderousness -- |t Jewellery and the police -- |t KEYS AND HANDBAGS -- |t KEYS -- |t Keys and handbags -- |t HANDBAGS -- |t Handbags and keys -- |t Keys, handbags and the police -- |t LIGHT(S) -- |t Vampires and blinding -- |t Murder and homosexuality -- |t Lights and the police -- |t THE MACGUFFIN -- |t The MacGuffin and the police -- |t MOTHERS AND HOUSES -- |t Mothers and the police -- |t PORTRAITS, PAINTINGS AND PAINTERS -- |t PORTRAITS -- |t PAINTINGS -- |t Modern art -- |t PAINTERS -- |t Portraits, paintings and the police -- |t PUBLIC DISTURBANCES -- |t Public disturbances and the police -- |t SPECTACLES -- |t Spectacles and the police -- |t STAIRCASES -- |t Hitchcockian levels -- |t Political variations -- |t Sinister staircases -- |t Freudian overtones -- |t Couples and staircases -- |t Staircases and the police -- |t TRAINS AND BOATS / PLANES AND BUSES -- |t TRAINS -- |t BOATS -- |t PLANES -- |t BUSES -- |t Trains and boats and the police -- |t WATER AND RAIN -- |t WATER -- |t RAIN -- |t Water and the police -- |g Appendix I: |t TV Episodes. |t BED SCENE -- |t CHILDREN -- |t CONFINED SPACES -- |t THE CORPSE -- |t DOUBLES -- |t FOOD AND MURDER / ENDINGS AND THE POLICE -- |t LIGHTS -- |t BOATS -- |g Appendix II: |t Articles on Hitchcock's motifs -- |g Appendix III: |t Definitions. |t Diegesis -- |t Point-of-view editing. |
| 520 | |a Hitchcock's work through his recurring motifs. | ||
| 588 | 0 | |a Print version record. | |
| 546 | |a English. | ||
| 506 | |a This work is licensed under the following Creative Commons License: Attribution-NonCommercial 3.0 Unported (CC BY-NC 3.0). | ||
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified]: |c HathiTrust Digital Library. |d 2024. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
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| 945 | |a JSTOR |b JSTOR Open Access Books | ||
| 600 | 1 | 0 | |a Hitchcock, Alfred, |d 1899-1980 |x Criticism and interpretation. |
| 650 | 0 | |a Motion pictures |x Plots, themes, etc. | |
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| 773 | 0 | |t OAPEN (Open Access Publishing in European Networks) |d OAPEN | |
| 776 | 0 | 8 | |i Print version: |a Walker, Michael. |t Hitchcock's motifs. |d Amsterdam : Amsterdam University Press, 2005 |z 9053567720 |z 9053567739 |w (OCoLC)62768303 |
| 830 | 0 | |a Film culture in transition. | |
| 856 | 4 | 0 | |u https://go.openathens.net/redirector/philamuseum.org?url=https://www.jstor.org/stable/10.2307/j.ctt46mtpf |z Access full-text online via JSTOR |
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