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Journal Articles
Film Quarterly. 1964; 18138–42 doi: https://doi.org/10.2307/1210152
Published: 01 October 1964
...William Johnson Copyright 1964 The Regents of the University of California Marnie Hitchcock Alfred 38 FILM REVIEWS sexually ambiguous and sadistic side: rather an arsenal for a pushover like Tony, who must have been lucky in having tougher Susans around in his earlier life, or his...
Journal Articles
Film Quarterly. 2019; 732106–108 doi: https://doi.org/10.1525/fq.2019.73.2.106
Published: 01 December 2019
... it a useful tool for Hitchcock: roll it up as an improvised telescope as a stranger does at the racetrack when he spies on the eponymous Marnie (1964) and you can look at others un- detected. In the movies, in general, you can almost always spot the spy as the one reading the paper; such is the case...
Journal Articles
Film Quarterly. 2012; 65349–58 doi: https://doi.org/10.1525/fq.2012.65.3.49
Published: 01 March 2012
...' treatment of ethics. © 2012 by the Regents of the University of California. 2012 The Man Who Knew Too Much Marnie Frenzy Alfred Hitchcock ethics and cinema FiLM QUArTErLY 49 1 One of the last scenes of Alfred Hitchcock s The Man Who Knew Too Much (1956) finds its protagonists at a...
Journal Articles
Film Quarterly. 2014; 68252–56 doi: https://doi.org/10.1525/fq.2014.68.2.52
Published: 01 December 2014
... for complexity might suggest. In response, like Hitchcock s Marnie, she goes on to double herself, projecting and fictionalizing a new persona. In so doing she, too, finds herself imprisoned by marriage, though with a man who is a dupe rather than the violent blackmailing predator represented by Mr...
Journal Articles
Film Quarterly. 2014; 67482–84 doi: https://doi.org/10.1525/fq.2014.67.4.82
Published: 01 June 2014
... achievement of Marnie, wherein the protagonist ultimately frees herself from the lifelong fear that she is fated always to kill the thing she loves. In allowing Marnie to find compassion for herself and step out of her private trap, Rothman writes, it s possible that Hitchcock too found compassion for...
Journal Articles
Film Quarterly. 2013; 66410–22 doi: https://doi.org/10.1525/fq.2013.66.4.10
Published: 01 June 2013
... problem of What happens when they get away from you and move to another director. Not surprisingly at this time he was completing The Birds (1963) and planning Marnie (1964the problem I have with the He- dren girl comes to his mind. His exact words here should be carefully considered as part of the...
Journal Articles
Film Quarterly. 2011; 64482–83 doi: https://doi.org/10.1525/FQ.2011.64.4.82
Published: 01 June 2011
... illustrations) all over the terrain of the Cold War, Corber s is a more finite and scholarly work that stretches this terrain even further. Cold War Femme consists in close, eye- opening rereadings of films (All About Eve, The Children s Hour, Marnie, The Haunting) and of female stars (Joan Crawford, Bette...
Journal Articles
Film Quarterly. 2010; 64214–18 doi: https://doi.org/10.1525/FQ.2010.64.2.14
Published: 01 December 2010
... push-pull takes only a couple of seconds in Vertigo (and hardly longer in Marnie [1964 this reiteration last a whole minute. Its length would dilate it beyond recognition if Chabrol ever played his Hitchcock game on only one board, but he never does: the dilation is another Hitchcock reference, this...
Journal Articles
Film Quarterly. 2010; 64258–63 doi: https://doi.org/10.1525/FQ.2010.64.2.58
Published: 01 December 2010
... 1964 s Marnie is one of many Hitchcock references). But Vertigo (1958) is the main Hitchcock intertext in a film, one of whose repeated concepts is learning to fall. To fall is to lose one s footing (one s grounding in a familiar world) and one s standing (one s status). One particular harrowing scene...
Journal Articles
Film Quarterly. 2010; 63475–76 doi: https://doi.org/10.1525/FQ.2010.63.4.75
Published: 01 June 2010
... are minor. It s fine to contrast Varda s quasi- ethnographic style with Hollywood soundstage filming, for example, but comparing her film to Alfred Hitchcock s non- naturalistic Marnie rigs the argument (72 73). And how I wish Ungar had more to say about the sidewalk entertainer booK reViewS 76 summer...
Journal Articles
Film Quarterly. 2008; 62212–18 doi: https://doi.org/10.1525/fq.2008.62.2.12
Published: 01 December 2008
... is the return of San Francisco, which, for a change, we re not allowed to see very well. The nocturnal opacity is apt, for in this spectacle of a city as latent with ver- tigo as the wood decors of Marnie are with red, Scottie is also gazing at the matrix of Madeleine s vacant-eyed madness, which we...
Journal Articles
Film Quarterly. 2007; 6033 doi: https://doi.org/10.1525/fq.2007.60.3.3
Published: 01 March 2007
... of a car or a train, tend to become self- conscious, vulnerable, transparent. The actors can seem almost immobilized, as if they are in a tableau vivant, paradoxically at the very moment in the film when there is a fictional high point of speed, mobility, or dramatic incident. When Marnie came out in...
Journal Articles
Film Quarterly. 2007; 61183–84 doi: https://doi.org/10.1525/fq.2007.61.1.83
Published: 01 September 2007
... Pomerance In An Eye for Hitchcock, Murray Pomerance offers highly personal meditations on six of Hitchcock s later fi lms: I Con- fess (1952), Marnie (1964), North by Northwest (1959), Spell- bound (1945), Torn Curtain (1966), and Vertigo (1958). He has chosen to discuss them, he explains, because these...
Journal Articles
Film Quarterly. 2004; 58156–58 doi: https://doi.org/10.1525/fq.2004.58.1.56
Published: 01 September 2004
... hardest to raise reasonable doubts in the minds of his readers. For ex- ample, in response to Spoto s claim that near the end of shooting on Marnie Hitchcock made a vulgar proposition to Tippi Hedren, something so vile, McGilligan claims, that Hedren would not repeat the exact words when Spoto inter...
Journal Articles
Film Quarterly. 2003; 56347–49 doi: https://doi.org/10.1525/fq.2003.56.3.47
Published: 01 March 2003
... in the shower room may be an homage to the deaf cleaner scene in Hitchcock s Marnie. Again, we cheer for the outlaw. 49 C O N G R AT U L AT I O N S ! We want to congratulate FQ Book Review Editor Stephen Prince on his election as the next President of the Society for Cinema and Media Studies (SCMS...
Journal Articles
Film Quarterly. 2001; 55261–70 doi: https://doi.org/10.1525/fq.2001.55.2.61
Published: 01 December 2001
... cherished project which he never Ž lmed: J.M. Barrie s Mary Rose, which would have concluded a trilogy begun with The Birds and Marnie. Hitchcock at Work is a major contribution to scholar- ship. Based upon reliable evidence and documentation, Krohn s classic study will be both an essential work for fu...
Journal Articles
Journal Articles
Film Quarterly. 2000; 53456–58 doi: https://doi.org/10.2307/1213756
Published: 01 July 2000
... explanations of the often inscrutable and unanalyzable psyche, but also Marnie, which took shape through various screenplay drafts that erase and displace the therapeutic process and figure of the analyst that are central in the original novel that Hitchcock was so at- tracted to. There is an abrupt transition...
Journal Articles
Film Quarterly. 2001; 54442–69 doi: https://doi.org/10.1525/fq.2001.54.4.42
Published: 01 June 2001
... film published in the 1970s. Raymond Bellour s writings on Hitchcock s The Birds, North by Northwest, Marnie , and Psycho, for years available only as increasingly illegible Xerox copies, have been re-edited and Ž nally united in a sin- gle book. Also included are his analyses of sequences from The Big...
Journal Articles
Film Quarterly. 2000; 53458–60 doi: https://doi.org/10.2307/1213757
Published: 01 July 2000
... glimpse in a book that gives no sustained attention to The Trouble with Harry, Psycho, The Birds, and Marnie, let alone to lesser but still intriguing films such as Mr. and Mrs. Smith, Saboteur, Lifeboat, I Confess, and Torn Curtain. Still, the volume unquestionably establishes Hitchcock as "an indis...