Sexual Innuendoes in the Films of Alfred Hitchcock
When watching an Alfred Hitchcock movie, have you ever found yourself sympathizing with a deceptive seductress or a soon-to-be sex offender? If so, you may have felt guilt from watching such sexual innuendoes, but don’t feel too bad. This is just one of the intents of Alfred Hitchcock as he weaves many of his tales with sensual characters. His films portray a vast array of sexuality from showing a battle of the sexes and tales of romance to showing homosexuals and sex offenders. Overall, the films of Alfred Hitchcock portray varying degrees of sexuality, which is manifested both romantically and perversely. The sexuality is one of the aspects of Hitchcock's films that adds intrigue and plot twists to his films.
Before revealing any insight into the sexuality of Hitchcock’s art, I will discuss his famous plot characteristics that aid the understanding of any deeper meanings, be they sexual or violent, within his films. First, according to Raymond Durgnat, the common sequence of his films include a certain plan:
"The story ingredients include (1) violent death, (2) a physical or mental chase in which we identify with a pursued pursuer, so that (3) virtue appears menacing and indulgence deceptive, while (4) amorous badinage (or tormenting) proceeds and (5) hero and heroine are offered some dramatically plausible choices between good and evil and (6) 'greys are everywhere'" (24).
Dr. Wayne McMullen, the 1999/2000 recipient of the Penn State University’s Annual Atherton Award, believes that Durgnat's formula does not conform to all of Hitchcock's films; however, many movies do contain this scenario. Second, Hitchcock’s films typically distort normal civilization to empha...
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Hitchcock has characteristics as an auteur that is apparent in most of his films, as well as this one.
Rear Window effectively demonstrates Hitchcock’s strong qualities as an author. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions on how to make the movie; he is providing his own creative adjustments. Now we will address a few of these from the film. First, drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films.
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
All directors of major motion pictures have specific styles or signatures that they add in their work. Alfred Hitchcock, one of the greatest directors of all time, has a particularly unique style in the way he creates his films. Film analyzers classify his distinctive style as the “Alfred Hitchcock signature”. Hitchcock’s signatures vary from his cameo appearances to his portrayal of a specific character. Two perfect examples of how Hitchcock implements his infamous “signatures” are in the movies, A Shadow of a Doubt and Vertigo. In these movies, numerous examples show how Hitchcock exclusively develops his imagination in his films.
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
As the paradigm in which this curiosity is exposed inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window. The viewer sees what Jeff (the protagonist) observes, has the sensation of being the protagonist, observing through his window.
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
Stam, Robert & Pearson, Robertson., ‘Hitchcock’s Rear Window: Refluxivity and the Critique of Voyeurism’ in Deutelbaum, Marshall & Poague, Leland A. ed., A Hitchcock Reader (John Wiley & Sons: 2009).
Alfred Hitchcock's Vertigo is a film which functions on multiple levels simultaneously. On a literal level it is a mystery-suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of the hoax, and the unraveling of the threads of the murder plot. On a psychological level the film traces the twisted, circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of the immemorial tale of a man who has lost his love to death and in hope of redeeming her descends into the underworld.
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
The purpose of this assignment is to explain the impact of English language learners in the classroom. As a foreign student, English language learner in the United States faces multiple challenges for achieving academic success. To successfully complete a task, they need to master both English as a language and how it is used in core content classes especially when they are an adult. When trying to assist in instructing English language learners, they usually have many concepts and language abilities that they need to master, as do the teachers that are trying to teach them. With the incorporation of the concepts and approaches to identify and assess the issues and concerns that we have learned in our classroom instruction, such as lesson preparation,
To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.
Since, the issue of Bilingual education became relevant in the United States, people have argued over the need and effectiveness of such programs in American school systems.
In considering the definitions and implications of Artificial Intelligence, many philosophers have reached extremely different conclusions. Alan Turing, author of the Turing Test, believed that an intelligent machine would be able to imitate perfectly a human. Margaret Boden, Professor of Philosophy and Psychology at the University of Sussex, contends that a machine is intelligent if it possesses and displays certain human values. Moving away from the pure...