277:. On the contrary, Hitchcock had many strong female characters within his movies, career women, who often triumphed over men and subverted sexual stereotypes. One view suggests that Hitchcock’s films enacted “rituals of defilement” of women that evoked his fear of women and unconsciously defended against that fear by punishing and even killing them. However murder of both women and men is typical of the genre of horror or psychological thrillers, with Hitchcock bearing the brunt of scrutiny from being a trailblazer in this novel trend in cinema.
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271:. The director said that blondes were "a symbol of the heroine." He also thought they photographed better in black and white, the predominant film for most dramas for many years. Although there is a commonly held view that Hitchcock treated women poorly, there is little evidence of this beyond the examples given by Tippi Hedren in
137:(Simon and Schuster, 1967). Hitchcock used this plot device extensively. Many of his suspense films use this device: a detail that, by inciting curiosity and desire, drives the plot and motivates the characters' actions within the story. However, the specific identity of the item is unimportant to the plot.
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Hitchcock preferred the use of suspense over the use of surprise in his films. Surprisingly, the director assaults the viewer with frightening things. In suspense, the director tells or shows the audience things that the characters in the film do not know and then artfully builds tension around what
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variety: perfect, aloof ice goddesses with a hidden red-hot inner fire. Hitchcock said he used blonde actresses in his films, not because of an attraction to them but because of a tradition that began with silent star
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Further blurring the moral distinction between the innocent and the guilty, occasionally making this indictment inescapably clear to viewers one and all, Hitchcock also makes voyeurs of his "respectable" audience. In
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Hitchcock found several ways to convey sexuality without depicting graphic behaviors, such as the substitution of explicit sexual passion with the passionate consumption of food. In a particularly amusing scene in
69:) confronts Jeffries by saying, "What do you want of me?" Burr might as well have been addressing the audience. Shortly before asking this, Thorwald turns to face the camera directly for the first time.
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will happen when the characters finally learn the truth. Hitchcock often used public places as scenes to heighten terror and suspense. Hitchcock was fond of illustrating this point with a short
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202:) while one of his hands strokes a dead animal and the other hand lingers on his crotch. Sexual feelings are often strongly associated with violent behavior. In
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Hitchcock had a dramatic preference for blonde women, stating that the audience would be more suspicious of a brunette. Many of these blondes were of the
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behaviors. Sometimes, the modest conventions of his era caused him to convey sexuality in an emblematic fashion, such as in
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One of
Hitchcock's favorite devices for driving the plots of his stories and creating suspense was what he called the "
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State secrets of various kinds serve as MacGuffins in several of the spy films, especially his earlier
British films
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511:"Metz, Voyeurism, and a Theoretical Look at Hitchcock's 'Rear Window'"
296:"Alfred Hitchcock and Francois Truffaut Explain Surprise vs. Suspense"
426:"North By Northwest Ending Explained: The Ultimate Hitchcock Picture"
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Metacinema: the form and content of filmic reference and reflexivity
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Hitchcock himself defined the term in a 1962 interview conducted by
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The Women Who Knew Too Much: Hitchcock and
Feminist Criticism
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563:"Hitchcock's 'Frenzy' Only Grows More Disturbing with Time"
98:), the audience watches Marion undress through a peephole.
485:"Murder and Queer Commentary Brew in Strangers on a Train"
19:'s films show an interesting tendency towards recurring
354:"Hitchcock, Truffaut, and the Irresponsible Audience"
86:. They are partially undressed, having seemingly had
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and
Hitchcock himself analogized specific scenes in
454:(1987). "The Way We Weren't: The Invisible Years".
537:"'Actors are cattle': when Hitchcock met Truffaut"
82:) and her divorced boyfriend Sam Loomis played by
456:The Celluloid Closet: Homosexuality in the Movies
164:, which was referred to as "Government secrets".
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198:) carries on a conversation with Marion Crane (
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1354:Alfred Hitchcock: The Art of Making Movies
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126:, as being the true inventor of the term.
1361:Alfred Hitchcock and the Making of Psycho
1316:German Concentration Camps Factual Survey
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61:(1954), after L. B. Jeffries (played by
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1374:Remakes of films by Alfred Hitchcock
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424:Crislip, Anthony (25 January 2022).
1323:Alfred Hitchcock's Mystery Magazine
27:throughout his life as a director.
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1460:Cinematic styles of film directors
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352:Braudy, Leo (1 July 1968).
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143:The Man Who Knew Too Much
119:Oxford English Dictionary
1416:Pat Hitchcock (daughter)
1221:The Fighting Generation
667:Themes and plot devices
320:LaRocca, David (2021).
228:, while some have read
1341:Transatlantic Pictures
1078:The Trouble with Harry
607:Michael Walker, 2005,
402:. Simon and Schuster.
1189:Always Tell Your Wife
942:Foreign Correspondent
489:Washington City Paper
236:fetishistic voyeurism
1309:Lord Camber's Ladies
1252:Incident at a Corner
1038:Strangers on a Train
950:Mr. & Mrs. Smith
801:Juno and the Paycock
458:(Revised ed.).
225:Strangers on a Train
1411:Alma Reville (wife)
1336:Three Investigators
857:Waltzes from Vienna
708:The Pleasure Garden
662:Unproduced projects
1387:Hitchcock/Truffaut
1110:North by Northwest
897:Young and Innocent
716:The Mountain Eagle
609:Hitchcock's Motifs
400:Hitchcock/Truffaut
294:Hellerman, Jason.
216:is evoked in both
183:North by Northwest
161:North By Northwest
135:Hitchcock/Truffaut
50:Audience as voyeur
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1197:An Elastic Affair
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677:Awards and honors
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131:François Truffaut
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541:The Guardian
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518:. Retrieved
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432:. Slash Film
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381:. Retrieved
364:(4): 21–27.
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258:Blonde women
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67:Raymond Burr
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1181:Short films
1166:Family Plot
1062:Rear Window
913:Jamaica Inn
785:sound films
772:The Manxman
756:Easy Virtue
657:Filmography
452:Russo, Vito
264:Grace Kelly
246:necrophilia
231:Rear Window
200:Janet Leigh
80:Janet Leigh
72:Similarly,
58:Rear Window
1449:Categories
1232:Television
1213:Bon Voyage
990:Spellbound
572:28 January
546:28 January
520:28 January
494:28 January
436:28 January
383:29 January
337:29 January
305:29 January
281:References
205:The Lodger
84:John Gavin
1368:Hitchcock
1288:Number 13
1126:The Birds
1046:I Confess
998:Notorious
958:Suspicion
926:and later
924:Hollywood
793:Blackmail
764:Champagne
414:, pg. 139
274:The Birds
168:Sexuality
114:MacGuffin
108:MacGuffin
102:MacGuffin
1434:Category
1380:The Girl
1265:episodes
1245:episodes
982:Lifeboat
966:Saboteur
889:Sabotage
740:Downhill
732:The Ring
567:Collider
174:perverse
44:aphorism
37:Suspense
31:Suspense
1275:Related
1263:(1985,
1243:(1955,
1102:Vertigo
934:Rebecca
809:Murder!
783:British
378:1210598
241:Vertigo
116:". The
1404:Family
1255:(1960)
1224:(1944)
1216:(1944)
1208:(1944)
1200:(1930)
1192:(1923)
1169:(1976)
1161:(1972)
1158:Frenzy
1153:(1969)
1145:(1966)
1137:(1964)
1134:Marnie
1129:(1963)
1121:(1960)
1118:Psycho
1113:(1959)
1105:(1958)
1097:(1956)
1089:(1956)
1081:(1955)
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969:(1942)
961:(1941)
953:(1941)
945:(1940)
937:(1940)
916:(1939)
908:(1938)
900:(1937)
892:(1936)
884:(1936)
876:(1935)
868:(1934)
860:(1934)
852:(1932)
844:(1931)
836:(1931)
828:(1931)
820:(1930)
812:(1930)
804:(1930)
796:(1929)
775:(1929)
767:(1928)
759:(1928)
751:(1928)
743:(1927)
735:(1927)
727:(1927)
719:(1926)
711:(1925)
698:Silent
672:Cameos
466:
406:
376:
251:Frenzy
210:Psycho
192:Psycho
152:, and
75:Psycho
21:themes
1150:Topaz
700:films
430:/Film
374:JSTOR
178:taboo
1393:film
1014:Rope
833:Mary
574:2024
548:2024
522:2024
496:2024
464:ISBN
438:2024
404:ISBN
385:2024
339:2024
307:2024
222:and
219:Rope
208:and
176:and
23:and
366:doi
328:doi
244:to
1451::
565:.
539:.
513:.
487:.
428:.
372:.
362:21
360:.
356:.
326:.
298:.
254:.
146:,
1267:)
1247:)
638:e
631:t
624:v
576:.
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