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2012, Guardian
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2 pages
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AI-generated Abstract
The BFI's restoration of Alfred Hitchcock's film, The Pleasure Garden, reintroduces over 20 minutes of footage, enhancing the narrative coherence and restoring the filmmaker's unique rhythm. Set against the backdrop of a Victorian venue, this initial work of Hitchcock is explored through themes of voyeurism and manipulation, showcasing the film's improved clarity and depth as it parallels the director's later works.
Lingue antiche e moderne, 12, 2023
While the importance of gardens for Katherine Mansfield and Virginia Woolf has been widely acknowledged, no critical study has examined how the interconnections between the two writers and the natural world are reflected in Mansfield's short story "The Garden-Party" (1922) and Woolf's novel Mrs Dalloway (1925). Albeit Woolf claimed she would not read The Garden-Party and Other Stories, these works share key analogies, and the drafting of Mrs Dalloway overlaps with Mansfield's death in 1923, which deeply affected Woolf. Moving from the web of relations that gardens weave in the authors' lives and reflections on writing, epitomised by Ottoline Morrell's garden parties at Garsington Manor and the fictional gardens of "The Garden-Party" and Mrs Dalloway, this essay identifies the 'perfect hostesses' of the two literary works-Mrs Sheridan, her daughter Laura, and Clarissa Dallowaywith Demeter and Persephone, and explores the underlying links between nature, the feminine, and classical culture.
In this essay I wish to explore some of the ways in which Hitchcock disturbs our understanding of Psycho through mismatching elements of character, dialogue and mise-en-scene in order to undermine Sigmund Freud’s theories on anal-compulsive behaviour and castration, and then to show how with the removal of generic logic, and the use of techniques developed for television, the director’s devious sense of humour runs riot.
Film-Philosophy, 2012
Hitchcock: Centenary Essays (BFI), 1999
Each time they kissed, there was the thrill of love ... The threat of murder! --poster for Suspicion (1941) The anatomy of metaskepticism In a significant revisionist work of recent years that runs decidedly counter to the dominant stream of Hitchcock scholarship that links Hitchcockian artifice to irony, Lesley Brill has argued that Hitchcock's stylistic self-consciousness contributes to rather than subverts the romance narratives that are his central preoccupation. For Brill, Hitchcock s insistence on artifice, surface and masquerade are part and parcel of the fairy-tale romance 'where the ordinary constraints of rational law are loosened in plots characterised by 'lucky co-incidence', a 'high degree of conventionality' and 'artifidality'.1
Études britanniques contemporaines
When Woolf visited Shakespeare's birthplace in 1934 she sensed his presence in the gardens, writing that 'He is serenely absent-present; both at once; radiating round one; yes; in the flowers, in the old hall, in the garden, but never to be pinned down' (Woolf 1982, 219-20). As scholars have widely shown, Shakespeare was a significant influence on Woolf. 1 In Shakespeare's plays, gardens have long been seen as offering a space away from the watchful eyes of others, where social rules and restrictions can temporarily be forgotten. 2 Shakespeare's psychologically complex characters often work through their emotions in natural settings-a device that many other authors have employed, including Woolf-and these settings can inform us about the characters themselves. As noted by Jeanne Shearer, for example, plant symbolism in Mrs Dalloway 'lends deeper meaning to certain passages, emphasizes the themes of the book, and allows Woolf a subtle means of revealing the nature of [her] characters' (Shearer 26), and as Shelley Saguaro argues, in Woolf's work, gardens 'are imbued with contingency and transition, rather than represented as simple paradigms of paradise or retreat' (Onans 59). 2 'Walled-in': The Psychology of the English Garden in Virginia Woolf's Mrs Dal... Études britanniques contemporaines, 55 | 2018 'Walled-in': The Psychology of the English Garden in Virginia Woolf's Mrs Dal... Études britanniques contemporaines, 55 | 2018 'I was thinking,' I improvised, 'of how amazing it is that this garden has been here since Elizabethan times. One imagines history to be inorganic, and yet here it is,
Literacy, 1985
Interiors: Design, Architecture, Culture, 2011
Libertine erotic novellas included a number of descriptions of unfolding spaces that stage the interior as a space designed to excite the nerves and dazzle the senses. One such text is Jean-Francois de Bastide’s La Petite Maison(1789), where the properly encoded interior advertises itself as a space for seduction. For the protagonist the plan of seduction is inscribed in the novels ‘floor-plan’, in spatial settings and dimensions between actors and the environment. Although the intention is to arrive at the boudoir, the journey is made through the narrative logics of circulation and exchange, and between house interior and the garden. This paper examines the role of the garden as both a moment of respite and an erotically charged enclosure affecting the senses. It includes discussion of other French erotic literature including Vivant Denon’s Point de lendermain (1777) and images in which gardens play an explicitly erotic role in the narrative, or construct environments for the pursuit of individual pleasure.
Alfred Hitchcock’s portrayal of women has been examined at great length and from many angles by a plentitude of film scholars, feminist theorists, and cinemaphiles. His filmography readily displays a well-documented, nigh-obsessive preoccupation with sexual crimes, heterosexual love plots and the thematic mixing of lust and violence, a murderous cocktail seemingly designed to indict women. For no matter her legal or moral alignment, the Hitchcockian woman is guilty by design: by virtue of her sex, and by extension, her sexuality. In this sense, nearly every Hitchcock film features his oft-used “wrong man” trope, because the true villain is always a malevolent female desire, one that exists in between legal margins. In the Hitchcockian worlds of Rebecca (1940) and Notorious (1946), the specter of female sexuality supersedes protagonists and plot lines alike, committing crimes against a religious, heteropatriarchal morality that must be resolved with female characters’ subservience to either marriage or death.
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