Cultural Theory in the Films of Alfred Hitchcock

Rezensionen / Stimmen

A seminal and ground-breaking work of original scholarship, "Cultural Theory in the Films of Alfred Hitchcock" by Professor Gary McCarron will hold a very special appeal to readers with an interest in film criticism in general, and an analysis of Alfred Hitchcock's cinematic philosophy in particular. Exceptional, informative, thought-provoking, and unique, "Cultural Theory in the Films of Alfred Hitchcock" is especially and unreservedly recommended for personal, professional, community, film school, and college/university library Cinematic Studies collections and supplemental curriculum studies lists. -- Midwest "Gary McCarron uses an impressively broad range of theoretical frameworks to tease out hitherto-overlooked meanings, implications, and ramifications of selected Hitchcock movies. These complementary essays add up to a prismatic account of Hitchcock's work and a stimulating excursion into varied philosophical and sociological territory." - David Sterritt, Editor-in-Chief, Quarterly Review of Film and Video "Our thirst for watching and thinking about the films of Alfred Hitchcock is unquenchable. Here, both cogently echoing many arguments and stretching into challenging and exciting new territory, Gary McCarron positions Hitchcock's analytical vision, refreshing the films for currency, even urgency, and offering a table of Hitchcockian delights." - Murray Pomerance, Independent Scholar and Adjunct Professor, Dept. of Media and Communication, RMIT University, Melbourne "An insightful investigation of Hitchcock's films, from his silent cinema to his later work. From The Lodger and Blackmail to The Wrong Man and The Birds, McCarron uses communication studies, psychoanalysis, and philosophy as critical entry points into studying Hitchcock's motifs and methods." - Blair Davis, Professor, College of Communication, DePaul University, Chicago "An engaging, exploratory book. The author is especially adept at pursuing ideas, whether those of Hitchcock or his films or of critics and philosophers, that are contradictory or partial and also rich in possibilities for further thought. Is suspicion a method or an affliction? Or something else?" - Michael Wood, Princeton University