The shower scene in Psycho; Cary Grant running for his life through a cornfield; “innocent” birds lined up on a fence waiting, watching — these seminal cinematic moments are as real to moviegoers as their own lives. But what makes them so? What deeper forces are at work in Hitchcock’s films that so captivate his fans? This collection of articles in the series that’s explored such pop-culture phenomena as Seinfeld and The Simpsons examines those forces with fresh eyes. These essays demonstrate a fascinating range of topics: Sabotage’s lessons about the morality of terrorism and counter-terrorism; Rope’s debatable Nietzschean underpinnings; Strangers on a Train’s definition of morality. Some of the essays look at more overarching questions, such as why Hitchcock relies so heavily on the Freudian unconscious. In all, the book features 18 philosophers paying a special homage to the legendary auteur in a way that’s accessible even to casual fans.
This book looks at 12 Hitchcock films and the positions they put forth on three problem areas of epistemology: deception, knowledge of mind, and problematic knowledge of the external world.
A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings.
Roche unlocks Hitchcock's engagement with philosophical themes, and he does so in a way that appeals to both the novice and the seasoned philosopher, as well as enthusiastic admirers of Hitchcock's films.
This book reads Alfred Hitchcock as a philosopher of what constitutes the erotic.
The social world has set upon him and replaced his face with an imagined one. Desperate to find the killer, the population has created one out of an innocent man. It is by means of a mirror that we first establish the boarder's gaze ...
Reassesses the different visions of filmmakers Alfred Hitchcock, Orson Welles, and Jean Renoir, drawing on their writings and movies to reveal how they became sophisticated theorists on film and its place in the human experience.
Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo.
Are causes physically connected to their effects? Is the mind a system of modules shaped by natural selection? Eight central questions shape the volume, with each question treated by a pair of opposing essays.
Uses close readings of Hitchcock's films to combine an articulation of Lacan's theory of ethics with a discussion of recent theories of feminine subjectivity and queer textuality.
Richard A. Gilmore suggests that narratives of popular films like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's Crimes and Misdemeanors, the Coen Brothers' Fargo, and Danny Boyle's Trainspotting mirror certain epiphanies in ...