Hitchcock's motifs

Hitchcock's motifs /

Hitchcock's work through his recurring motifs.

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Bibliographic Details
Online Access: Access full-text online via JSTOR
Author / Contributor: Walker, Michael (Author)
Imprint: Amsterdam : Amsterdam University Press, 2005.
Format: Electronic
Language:English
Subjects:
Hitchcock, Alfred, > 1899-1980 > Criticism and interpretation.
Motion pictures > Plots, themes, etc.
Series:Film culture in transition.
Table of 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.

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