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In a radical new interpretation of the works of Alfred Hitchcock, Christopher Morris argues that suspense―the fundamental component of Hitchcock's cinema―is best understood through deconstruction of the very meaning of the word, which relates to dependence or hanging. He analyzes its portrayal first in painting and sculpture and then in Hitchcock's body of work. In this iconographic tradition, hanging figures challenge the significance of human identity and rationality, and further imply that closure, or an end to suspense, is all but illusory.
This work represents the first deconstructive approach to suspense, and the first-ever survey of the iconography of the hanging figure. Hitchcock's films provide ample opportunity for such discussion, with their constant use of the tool of suspense, and Morris argues that, essentially, all of human existence is in this very state, a state embodied particularly well by the films he discusses. Drawing on the work of Jacques Derrida, Paul de Man, and J. Hillis Miller, this cross-disciplinary study of an important cinematic oeuvre establishes the advantage of a deconstructive and figurative approach to an often-studied directorial style, one that nearly embodies a genre unto itself.
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Adopts a figural and deconstructive approach to suspense, focusing on representations of hanging figures in the films of Alfred Hitchcock.
CHRISTOPHER D. MORRIS is the Charles A. Dana Professor of English at Norwich University in Northfield, Vermont. He is the author of Models of Misrepresentation: On the Fiction of E. L. Doctorow, as well as many articles on English and American literature.
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- PublisherPraeger
- Publication date2002
- ISBN 10 0275971368
- ISBN 13 9780275971366
- BindingHardcover
- Edition number1
- Number of pages330
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Book Description Hardcover. Condition: new. Hardcover. In a radical new interpretation of the works of Alfred Hitchcock, Christopher Morris argues that suspensethe fundamental component of Hitchcock's cinemais best understood through deconstruction of the very meaning of the word, which relates to dependence or hanging. He analyzes its portrayal first in painting and sculpture and then in Hitchcock's body of work. In this iconographic tradition, hanging figures challenge the significance of human identity and rationality, and further imply that closure, or an end to suspense, is all but illusory.This work represents the first deconstructive approach to suspense, and the first-ever survey of the iconography of the hanging figure. Hitchcock's films provide ample opportunity for such discussion, with their constant use of the tool of suspense, and Morris argues that, essentially, all of human existence is in this very state, a state embodied particularly well by the films he discusses. Drawing on the work of Jacques Derrida, Paul de Man, and J. Hillis Miller, this cross-disciplinary study of an important cinematic oeuvre establishes the advantage of a deconstructive and figurative approach to an often-studied directorial style, one that nearly embodies a genre unto itself. In a radical new interpretation of the works of Alfred Hitchcock, Christopher Morris argues that suspensethe fundamental component of Hitchcock's cinemais best understood through deconstruction of the very meaning of the word, which relates to dependence or hanging. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9780275971366
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