//// effect/motif. See expressionist iconography
39 Steps, The (1935); black comedy/tonal ambiguity in; and classical suspense; “perversity” in; as recognition narrative; as romantic renewal narrative; as romantic thriller; as wrong-man narrative
Ackland, Rodney
Acton, Harold
aesthete: as decadent/effeminate; gamesman-; gentleman-; Hitchcock as. See also dandy-aesthete
aestheticism: and dandyism; defined; and disguised/displaced same-sex passion; and explicit link to homosexuality; Hitchcock’s mode of; linked to “perversity”; linked to romantic ideal; and male beauty; relation to expressionism; relation to romantic irony; relation to surrealism; and threat to heterosexual romance. See also romantic irony; sexuality; Wilde, Oscar
Almodóvar, Pedro
Anderson, Judith
Andrews, Julie
Argento, Dario
Aristotle
artifice; internal and external; and “perverse” sexuality
artwork/paintings/pictures/portraits. See also “Hitchcockian Blot”
Auber, Brigitte
Ault, Marie
Baker, Diane
Ballet mécanique (1924)
Balsam, Martin
Bankhead, Tallulah
Baring, Norah
Barr, Charles
Barthelme, Donald
Barton, Sabrina
Bass, Saul
Battleship Potemkin (1925)
Bauso, Thomas
Bazin, André
Beckett, Samuel
Behler, Ernst
Bel Geddes, Barbara
Belle de Jour (1967)
Bellour, Raymond
Belton, John
Benjamin, Arthur
Bennett, Charles
Berenstein, Rhona
Bergman, Ingrid: in Notorious; in Spellbound; in Under Capricorn
Birds, The (1963); //// effect/motif in; chaos/shadow world in; classical suspense in; color design in; death birds in; the double/doubling in; and horror; and ironic ambivalence; lovebirds in; as melodrama; profile shot in; psychoanalysis in; relation to English romanticism; role/force of nature in; the sublime in; surprise in; as suspenseful mystery; and vicarious suspense
black comedy/humor; Freud on; and irony; and suspense; and tonal ambiguity
Blackguard, The (1925); artwork/paintings in
Blackmail (1929); //// effect/motif in; artwork/paintings in; Bennett stage play; black comedy in; chaos/shadow world in; chase sequence; the dandy in; the double/doubling in; expressionism; Hitchcock cameo in; “Hitchcockian Blot” in; and ironic inversion; irony in; male forms of knowing in; and “masculine” detection/coercion; as melodrama; plot synopsis; pursuit of knowledge in; rectangular staircase in; staircase and banisters in; wrong/ed woman motif in
Blue Angel, The (1930)
Bordwell, David
Borges, Jorge Luis
both/and logic. See romantic irony
Branigan, Edward
Brean, Herbert
Brill, Lesley
Brisson, Carl
Brontë, Charlotte
Browne, Roscoe Lee
Brummell, Beau
Buchan, John
buffoon/ery: author/Hitchcock as; irony as; transcendental
Bulwer-Lytton, Edward
Buñuel, Luis
Burgess, Guy
Burr, Raymond
Byron, Lord George Gordon
Cabinet of Dr. Caligari, The (1919)
Calhern, Louis
cameos
Cameron, Ian
Capra, Frank
Cardiff, Jack
Carey, MacDonald
Carroll, Leo G.: in North by Northwest; in Spellbound
Carroll, Noël
Cartwright, Veronica
Cave, Terence
Cavell, Stanley
Chabrol, Claude
Chandler, Charlotte
Chandler, Joan
chaos/shadow world; defined; Freudian interpretation of; in German expressionism; and Hitchcockian Blot; mullioned window as portal to; as perversity. See also doppelgänger/double
character identification
Chasseguet-Smirgel, Janine
Chesterton, G. K.
Clarke, Kenneth
classical narrative/Hollywood style
Clift, Montgomery
Cohen, Paula Marantz
Cohen, Tom
Coleridge, Samuel Taylor
color design; black and/vs white; colorfulness; colorlessness; cool/cold vs warm/earth tones; and expressionism; and gender/sexual difference or complementarity; Hitchcock on; and “Hitchcockian Blot”; hot colors/“warning series”; and surrealism
Connery, Sean
Conrad, Peter
Conwell, Carolyn
Cotton, Joseph: in Shadow of a Doubt; in Under Capricorn
Coward, Noël
Cronyn, Hume
Crowther, Bosley
Cummings, Robert
Cutts, Graham
Dalí, Salvador
Dall, John
dandy/dandyism; -aesthete/artist; and aestheticism; -criminal/murderer/villain; and decadence; defined; -deviant; as effeminate/implicitly homosexua; female; as “gamesman-aesthete”; -hero; in Hitchcock; as Jekyll/Hyde figure; as “murderous gay”; and performance of gentlemanliness; as protagonist’s double; as queer; as rogue/womanizer; -victim
Dane, Clemance
Dante Gabriel Rossetti
Darcy, Georgine
Dassin, Jules
Day, Doris
death birds. See expressionist iconography
De Banzie, Brenda
de Marney, Derrick
De Palma, Brian
de Quincy, Thomas
Descartes, René
Destiny (1921)
Devane, William
Dial M for Murder (1954); color design in
Dick, Douglas
Dietrich, Marlene
Disraeli, Benjamin
divided two-shot
Donat, Robert
doppelgänger/double/doubling; both/and logic of; death birds as; as expressionist; Freudian interpretation of; of the hero/heroine; Hitchcock as (character) double; integrated into classical narrative/Hollywood style; as Jekyll/Hyde. See also chaos/shadow world; expressionist iconography; shot/reverse-shot structure
doubled (multiple/ambiguous) endings; in Hitchcock’s films and TV shows
Douglas, Lord Alfred
Downhill (1927); expressionism in; and ironic inversion; as melodrama; plot synopsis
Doyle, Sir Arthur Conan
Dr. Mabuse (1922)
Du Maurier, Daphne
Du Maurier, Gerald
Dunnock, Mildred
Dupont, E. A.
Durgnat, Raymond
Easy Virtue (1927); as expressionist melodrama; wrong-woman in
eavesdropping
Edelman, Lee
Eichner, Hans
Eisenstein, Sergei
Eisner, Lotte
Eliot, George
Elsaesser, Thomas
epistemology. See knowledge
Evelyn, Judith
expressionism/ist aesthetic; analytic/al; aural; black-and-white/shadow world; and color design; defined; German; and modernity; moral psychology of; objective; and relation to aestheticism; and role/force/power of nature; subjective. See also chaos/shadow world; doppelgänger/double
expressionist iconography; //// effect/motif (parallel line motif); banisters (vertical lines); death birds; divided two-shot; “Hitchcockian Blot”; Janus face/profile shot; lovebirds; merry-go-round (of chaos/death); merry-go-round (as circle of life/waltz); mirror shot; mullioned window; precipitous staircase (horizontal lines); rectangular/square staircase; spiral motif. See also doppelgänger/double
Family Plot (1976): color design in; the rogue in
Farmer’s Wife, The (1928)
Fawell, John
female agency; and color design; as female sexuality
feminine (sublime-masochistic) aesthetic; defined; as “homoerotic sublime”; in Hitchcock’s horror films; and perverse sexuality; in suspenseful mystery
femininity; and color design; and faith vs self-doubt; masculine; as masquerade
feminist criticism
Fetzer, John Francis
Fichte, Johann Gottlieb
film noir
Finch, Jon
Fincher, David
Fonda, Henry
Fontaine, Joan: in Rebecca; in Suspicion
Foreign Correspondent (1940)
Forsythe, John
Foster, Barry
Frenzy (1972); //// effect/motif in; black comedy/humor in; and chaos/shadow world in; and character identification; and character point of view; color design in; the dandy in; the double/doubling in; and identification with villain (“devil”); and inverted/subverted morality; and ironic inversion; irony in; as melodrama; and shared suspense; source material for; staircase in; and wrongful imprisonment; wrong man in
Freud, Sigmund; on black comedy/humor; on idealization; influence on Hitchcock; on narcissism; on perversion
Freudian psychoanalytic theory: on the double/chaos/shadow world; in Hitchcock; and relation to expressionism; and sexuality as source of anxiety; of sublimation
Furst, Lilian
Gabel, Martin
Gavin, John
Gelin, Daniel
gender difference and/or complementarity
Geraghty, Carmelita
German expressionism. See expressionism
Ginzburg, Carlo
Girardet, Christoph
Godard, Jean-Luc
Goetzke, Bernhard
Gottlieb, Sidney
Granger, Farley; in Rope; in Strangers on a Train
Grant, Cary; in North by Northwest; in Notorious; in Suspicion; in To Catch a Thief
Green, Martin
Griffith, D. W.
Grune, Karl
Guerin, Frances
Gurewitch, Morton L.
Gwenn, Edmund
Hall, Radclyffe
Hamilton, Patrick
Handewerk, Gary
Hayes, John Michael
Head, Edith
Hecht, Ben
Hedren, Tippi: in The Birds; in Marnie
Hellinger, Mark
Helmore, Tom
Herrmann, Bernard
Herzberg, Martin
Hitchcock, Patricia
“Hitchcockian Blot.” See expressionist iconography
Hogan, Dick
homoerotic desire/homoeroticism/homosexuality; as anal-phallic sublime; or bisexual/queer; and the dandy; disguised; and link to aestheticism; as “perverse”; in The Picture of Dorian Gray; and suspenseful mystery
Homolka, Oscar
“horizontal” and “vertical” aspect/form/structure; defined
horror film/genre; aesthetics/rhetoric of; modern
Howard, Brian
Hunt, William Holman
Huysman, Joris Karl
I Confess (1953)
idealization
Immerwahr, Raymond
interpretation; divergent/diverse
irony; and ambiguity/ambivalence; benign; and black comedy/humor; through color design; dialectical; and expressionism; inversion/reversal; and inversion/subversion of morality; modern; and suspense; and suspenseful mystery; traditional. See also romantic irony
Ishii-Gonzales, Sam
Jamaica Inn (1939); dandy in; female/feminine agency in
Janus-faced (1920)
Jekyll/Hyde. See also dandy; doppelgänger/double
Jourdan, Louis
Kalmus, Natalie
Kammerspiel film
Kandinsky, Wassily
Keats, John
Keen, Malcolm
Kelly, Grace; in Dial M for Murder; in Rear Window; in To Catch a Thief
Kieling, Wolfgang
Kindem, Gorhem
knowledge: and disenchantment/loss of innocence; vs doubt/self-doubt/skepticism/uncertainty; through female/“feminine” detection/faith/intuition; and gender difference; and gender “inversion”; joint quest of; through male/“masculine” detection/coercion/reason; pursuit/quest/search for; through recognition narrative/plot; and sexual difference
Konstantin, Madame
Krohn, Bill
Kuleshov, Lev
La Bern, Arthur
Lacey, Catherine
Lady Vanishes, The (1938); as joint quest narrative; MacGuffin in; plot synopsis; as romantic renewal narrative; subjective expressionism in; wrong woman in
Landau, Martin
Landis, Jessica Royce
Lang, Fritz
Last Laugh, The (1924)
Laughton, Charles
Laurents, Arthur
Léger, Fernand
Lehár, Franz
Lehman, Ernest
Leigh, Janet
Leighton, Margaret
Leitch, Tom
Leni, Paul
Lifeboat (1944); female/feminine agency in; Hitchcock cameo in
Lloyd, Norman
Lodger, The (1926); ambiguous ending of; analytic expressionism of; artwork/paintings in; authorial surrogate in; black comedy/humor in; and character point of view; as classical suspense; dandy in; the double/doubling in; expressionism in; “feminine” faith in; Hitchcock cameo in; and ironic ambivalence; Janus face in; the kiss in; masculine aesthetic in; mullioned window in; parallel line motif in; perverse desire in; plot synopsis; relation to English romanticism; self-conscious narration in; staircase and banisters in; stairs as parallel lines; subjective suspense in; and suspense; villain as “vampire”; voyeurism in; wrong man in
Lonely Villa, The (1909)
Longden, John
Lord Camber’s Ladies (1932)
lovebirds. See expressionist iconography
Lubitsch, Ernst
Lukas, Paul
Lynch, David
MacGuffin
MacLaine, Shirley
Maclean, Donald
MacPhail, Angus
male gaze. See voyeurism
Man Who Knew Too Much, The (1934)
Man Who Knew Too Much, The (1956); color design in; the double/doubling in; female agency in; implied homosexuality in; irony in; as joint quest narrative; masculine aesthetic in; masculinity in; plot synopsis; and self-conscious narration; suspense in
Manxman, The (1929); the divided two-shot in; the double/doubling in; expressionism in; as melodrama; mullioned window in; shot/reverse-shot structure in
Marc, Franz
Marnie (1964); //// effect/motif in; color design in; divided two-shot in; female dandy in; Hitchcock cameo in; “Hitchcockian Blot” in; and ironic ambivalence; the kiss in; and “masculine” detection/coercion; masquerade in; and phallic sublime; plot synopsis; psychoanalysis in; pursuit of knowledge in; shot/reverse-shot structure in; surrealist aesthetic in; suspense in; wrong/ed woman in
Marshall, Herbert
masculine (ludic-sadistic) aesthetic; and black comedy/humor; in classical suspense; defined; in Hitchcock’s horror films
masculinity: and color design; Edwardian; as performance/mask of gentlemanliness; performed as rogue; revised
Mason, James
masquerade
Massey, Anna
McCowen, Alec
McGilligan, Patrick
Mellor, Anne
melodrama; color design in; costume; domestic; female-centered/focalized; gothic; in Kammerspiel; of suspense
Merchant, Vivien
Merry Widow, The (1934)
metafiction. See reflexivity
Miles, Bernard,
Miles, Vera: in Psycho; in The Wrong Man
Milland, Ray
Miller, D. A.
Miller, Mark Crispin
Minnelli, Vincente
mirror image/shot. See expressionist iconography
misrecognition. See wrong/ed man; wrong/ed woman
modernism/ist aesthetic
Modleski, Tania
Montagu, Ivor
morality/moral psychology/sensibilities/; and classical suspense; implied through color design; English middle-class; of expressionism; of recognition narrative; of romance narrative/thriller; of romantic irony; subversion of/freedom from
Morris, Christopher
Muecke, D. C.
Müller, Matthias
mullioned windows. See expressionist iconography
Murder! (1930); //// effect/motif in; authorial surrogate in; and character point of view; the dandy in; expressionism in; and ironic ambivalence; the kiss in; and male/“masculine” detection/coercion; plot synopsis; as recognition narrative; shot/reverse-shot editing in; subjective expressionism in; suspense in; wrong/ed woman in; and wrongful imprisonment
Murnau, F. W.
Naked City, The (1948)
Naremore, James
nature. See expressionism, role of nature
Newman, Paul
North by Northwest (1959); //// effect/motif in; and authorial intervention; black comedy/humor; character point of view in; classical suspense in; color design in; crop-dusting sequence; the dandy in; the double/doubling in; female agency in; Hitchcock cameo in; the kiss in; MacGuffin in; masculine aesthetic in; mullioned window in; and “perversity”; rogue in; as romantic renewal narrative; as romantic thriller; shared suspense in; spiral motif in; and surrealism; suspenseful mystery in; tonal ambiguity in; and wrong/ed man
Nosferatu (1921)
Notorious (1946); //// effect/motif in; and classical suspense; the dandy in; as domestic melodrama; the double/doubling in; expressionism in; female agency in; as gothic melodrama; “Hitchcockian Blot” in; and identification with villain; as joint quest narrative; the kiss in; MacGuffin in; and “masculine” detection/coercion; as romantic renewal narrative; plot synopsis; and shared suspense; suspense in; and wrong/ed woman
Novak, Jane
Novak, Kim
Novello, Ivor; in Downhill; in The Lodger
Number Seventeen (1932)
Ober, Philip
Olivier, Laurence
Olsen, Christopher
Ondra, Anny
Orr, John
Paradine Case, The (1947): and character point of view; the dandy in; as film noir; and ironic ambivalence; and “masculine” detection/coercion; masculinity in; plot synopsis; and wrong/ed woman
Pater, Walter. See also aestheticism
Pearson, Roberta
Peck, Gregory; in The Paradine Case; in Spellbound
Perkins, Anthony
Perkins, Victor
perversity. See sexuality
Phoenix Tapes, The (1999)
Piccoli, Michel
Pierrot le fou (1965)
Pilbeam, Nova
Plato
Pleasure Garden, The (1925): alternate endings of; the double/doubling in
Pleshette, Suzanne
Poe, Edgar Allan
poetics
point of view; audience/spectator/viewer; character; narrative; objective and subjective; of the villain; and voyeurism
postmodernism
Powell, Michael
Pressburger, Emeric
Price, Theodore
profile shot
Psycho (1960); //// effect/motif in; and artifice; authorial surrogate in; avian imagery in; and character identification; and character point of view; classical suspense in; death birds in; divided two-shot in; the double/doubling in; expressionism in; force/role of nature in; Hitchcock cameo in; “Hitchcockian Blot” in; and horror; and inverted/subverted morality; and ironic inversion; Janus face in; lovebirds in; mirror shot; and murderer-as-artist; parlor sequence; perverse desire/sexuality in; psychoanalysis in; and shared suspense; shot/reverse-shot structure; shower scene; staircase and banisters in; spiral motif in; suspenseful mystery in; and sympathetic villain; vicarious suspense in
psychoanalysis. See also Freudian psychoanalytic theory
psychoanalytic criticism/interpretation
Pudovkin, Vsevolod
pure cinema
queer aesthetic
queer theory
Rains, Claude
Rear Window (1954); //// effect/motif in; ambiguous ending of; authorial surrogate in; black comedy/humor in; and character point of view; classical suspense in; color design in; the double/doubling in; expressionism in; and female/“feminine” forms of knowing/faith/intuition; Hitchcock cameo in; “horizontal” level of; and ironic ambivalence; as joint quest narrative; and Kuleshov experiment; MacGuffin in; male forms of knowing in; masculinity in; mullioned window in; and perverse desire in; and reflexivity; surprise in; surrealist aesthetic in; villain as “vampire”; and voyeurism/istic gaze
Rebecca (1940); artwork/paintings in; authorial surrogate in; and character point of view; divided two-shot in; the double/doubling in; du Maurier novel; expressionism in; female gaze in; feminine aesthetic in; and “feminine” faith; force/role of nature in; as gothic melodrama; “Hitchcockian Blot” in; irony in; Jekyll/Hyde figure in; knowledge and disenchantment in; masculine lesbian in; mullioned windows in; plot synopsis; pursuit of knowledge in; the sublime in; surprise in; as suspenseful mystery; wrong/ed woman in
recognition. See knowledge
Redgrave, Michael
reflexivity; and voyeurism
Reinhardt, Max
Renoir, Jean
Reville, Alma
Rigby, Edward
Rilla, Walter
Ring, The (1927): the dandy in; the double/doubling in; merry-go-round in; plot synopsis; ring motif in
Ritchard, Cyril
Ritter, Thelma
Robison, Arthur
rogue; and dandy; defined; female; Hitchcock as; and performance of gentlemanliness
Rohmer, Eric
romantic ideal: defined; as heterosexual love/romance; linked to aestheticism; and perversity; undermined
romantic irony; both/and logic of; defined; and the double or chaos/shadow world; and doubt/misrecognition/skepticism vs knowledge/recognition; and gender difference; and horizontal and vertical form; as ironic ambivalence/ambiguity/suspended judgment35; as ironic inversion/descent/downward spiral/negation; objective vs subjective; and relation to aestheticism; as romantic renewal/redemption/transformation/transcendence; and tonal ambiguity. See also aestheticism; expressionism; horizontal and vertical form/structure; irony
romanticism; British/English; German
romantic poetry
romantic thriller
Rope (1948); authorial surrogate in; black comedy/humor in; character point of view in; classical suspense in; color design in; the dandy in; the double/doubling in; Hamilton stage play; implicit homosexuality in; and inverted/subverted morality; Laurents screenplay; the long take in; masculine aesthetic in; masculinity in; and murderer-as-artist; plot synopsis; profile shot in; psychoanalysis in
Rosenblatt, Bettina
Rossetti, Dante Gabriel. See Dante
Rothman, William
Rules of the Game (1939)
Ryals, Clyde de L.
Sabotage (1936); authorial surrogate in; black comedy/humor in; and classical suspense; as domestic melodrama; Hitchcock on; irony in; and inverted/subverted morality; reflexivity in; and self-conscious narration; time-bomb sequence
Saboteur (1942); the dandy in; reflexivity in; tonal ambiguity in
Saint, Eva Marie
Samuels, Charles Thomas
Samuels, Robert
Sanders, George
Sayers, Dorothy L.
Schiller, Lydia
Schlegel, Friedrich
Schopenhauer, Arthur
Schröder, Greta
self-referentiality/self-reflexivity. See reflexivity
Selznick, David O.
sexual difference. See gender difference; knowledge
sexuality/desire: as deadly; female; as Freudian joke; and Hitchcock’s style; as incestuous; lesbian; as masquerade; as “perverse”; and suspense. See also aestheticism; dandy; homoerotic desire/homoeroticism/homosexuality
Shadow of a Doubt (1943); //// effect/motif in; black comedy/humor in; chaos/shadow world in; the dandy in; divided two-shot in; as domestic melodrama; the double/doubling in; expressionism in; and “feminine” faith; as gothic melodrama; and ironic ambivalence; Jekyll/Hyde figure in; knowledge and disenchantment in; merry-go-round (of life and death) in; mullioned window in; narrative point of view; plot synopsis; as recognition narrative; role of nature in; spiral motif in; staircase and banisters in; surrealist aesthetic in; villain as “vampire”
shadow world. See chaos/shadow world Shakespeare, William
Shelley, Percy Bysshe
shot/reverse-shot structure. See also doppelgänger/double/doubling; expressionist iconography
Sinfield, Alan
Skin Game, The (1931)
Slezak, Walter
Smith, Susan
Solger, Karl Wilhelm Ferdinand
Soviet montage
Spellbound (1945): expressionism in; and “feminine” faith; Hitchcock cameo in; the kiss in; masculinity in; plot synopsis; psychoanalysis in; as romantic renewal narrative; shot/reverse-shot structure in; surrealist aesthetic in; wrong/ed man in
spiral motif. See expressionist iconography
Spiral Staircase, The (1946)
Spoto, Donald
Stafford, Frederick
Stage Fright (1950): authorial surrogate in; and female/feminine agency/forms of knowing; femme fatale in; wrong/ed woman in
staircase motif. See expressionist iconography
Stam, Robert
Stannard, Eliot
Sternberg, Meir
Sterne, Laurence
Stevenson, Robert Louis
Stewart, James; in The Man Who Knew Too Much (1956); in Rear Window; in Rope; in Vertigo
Strangers on a Train (1951); //// effect/motif in; artwork/paintings in; authorial surrogate in; and black comedy/humor; and character point of view; and classical suspense; the dandy in; the double/doubling in; expressionism in; fairground sequence; female gaze in; Hitchcock cameo in; “Hitchcockian Blot” in; and identification with villain; implied homosexuality in; and inverted/subverted morality; and ironic ambivalence; irony in; masculine aesthetic in; merry-go-round in; opening sequence; and perverse desire/sexuality; plot synopsis; psychoanalysis in; and sexualized suspense; and shared suspense; shot/reverse-shot structure in; villain as “vampire”; voyeurism in; wrong/ed man in
Street, The (1923)
Stuart, John
Studlar, Gaylyn; and “masochist” aesthetic
sublimation. See Freudian psychoanalysis
sublime; anal-phallic; apocalypse; artwork as; feminine; and feminine aesthetic; phallic; and surrealism; in suspenseful mystery
surrealism/ist aesthetic; and color design; and relation to aestheticism; and sublime
suspense; and black comedy/humor; classical; vs curiosity; defined; eroticized; Hitchcock as aesthete/“Master” of; Hitchcock on; and irony; objective; and pursuit/quest/search for knowledge; and romantic irony; and sexuality; shared; subjective; through suppressive narration; vs surprise; vicarious. See also morality
suspenseful mystery; defined; and feminine aesthetic; irony in; and masochistic aesthetic; vs surprise
Suspicion (1941); alternate ending of; ambiguous endings of; black comedy/humor in; expressionism in; and “feminine” faith; as gothic melodrama; “horizontal” and “vertical” aspects of; Iles novel; and ironic ambivalence; knowledge and disenchantment in; and perversity in; psychoanalysis in; pursuit of knowledge in; as “remake” of The Lodger; the rogue in
Sydney, Sylvia
Tandy, Jessica
Taylor, John Russell
Taylor, Rod
television shows/work
Testament of Dr. Mabuse, The (1933)
Tester, Desmond
Tieck, Ludwig
Tiomkin, Dmitri
To Catch a Thief (1955); color design in; flower market scene; Hitchcock cameo in; perversity in; as romantic renewal narrative; as romantic thriller; rogue in; wrong/ed man in
Topaz (1967); //// effect/motif in; color design in; irony in
Torn Curtain (1966); //// effect/motif in; chaos/shadow world in; color design in; implied homosexuality in; irony in; the kiss in; masculine aesthetic in
tragedy
Travers, Henry
Triesault, Ivan
Trouble with Harry, The (1956); as black comedy; color design in; dandy in; force/role of nature in; irony in; masquerade in; as romantic renewal narrative
Truffaut, François
Truffaut/Hitchcock interviews: on The 39 Steps; on Easy Virtue; on Notorious; on Psycho; on Strangers on a Train; on suspense; on Torn Curtain
Under Capricorn (1949); color design in; as costume melodrama
Valli, Alida
Valli, Virginia
Variety (1925)
Verhoeven, Paul
Vernon, John
“vertical” aspect/form/structure. See “horizontal” and “vertical” aspect
Vertigo (1958); 360-degree pan; aestheticism of; alternate endings of; and artifice; artwork/paintings in; authorial surrogate in; black comedy/humor in; and character point of view; color design in; the dandy in; double/doubling in; Ernie’s restaurant scene; expressionism in; feminine aesthetic in; as film noir; “Hitchcockian Blot” in; and ironic inversion; Janus face in; the kiss in; knowledge and disenchantment in; and “masculine” detection/coercion; masculinity in; and masquerade; mirror shots in; perverse desire in; plot synopsis; profile shot in; pursuit of knowledge in; as recognition narrative; relation to English romanticism; romantic ideal in; shot/reverse-shot structure in; spiral motif in; the sublime in; surprise in; surrealist aesthetic in; suspenseful mystery in; the “vertigo” shot; voyeurism in; wrong/ed woman in
von Sternberg, Josef
voyeurism
Wainewright, Thomas
Walker, Michael
Walker, Robert
Waltzes from Vienna (1934)
“warning series.” See color design Warning Shadows (1923)
Waxworks (1924)
Weimar cinema/directors
Weis, Elizabeth
Who Killed Cock Robin? (1935)
Wiene, Robert
Wilde, Oscar; and aestheticism-dandyism link; “Pen, Pencil and Poison”; Picture of Dorian Gray, The. See also aestheticism; artwork/paintings; dandyism
Wilding, Michael
Wilson, Josephine
Winston, Irene
Witty, Dame May
Wood, Robin
Wordsworth, William
Wright, Theresa
wrong/ed man motif
wrong/ed woman motif
Wrong Man, The (1956); the double/doubling in; expressionism in; and “feminine” faith; Hitchcock’s prologue; and ironic ambivalence; irony in; as joint quest narrative; as melodrama; plot synopsis; precipitous staircase in; and wrongful accusation/imprisonment
Young and Innocent (1937); female/feminine agency in; and female forms of knowing; “feminine” faith in; “Hitchcockian Blot” in; as joint quest narrative; MacGuffin in; plot synopsis; as recognition narrative; as romantic renewal narrative; wrong/ed man in
Zirnite, Dennis
Žižek, Slavoj