Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
accidents, 53, 97, 105, 107, 125, 126, 128, 156, 180, 238; as opposed to “accidents,” 130, 131, 162, 174, 207
Allen, Gracie, 367
Antonioni, Michelangelo, 203
art of pure cinema, the, 8, 14, 16, 34, 51, 142, 178, 215, 222, 224, 256, 262, 268, 269; as akin to murder, 6, 24, 170, 188, 192, 254, 257, 265; as akin to taxidermy, 34, 191, 192, 280; Hitchcock as master (and/or slave) of, 6, 12, 139, 170, 188, 198, 203, 285
Awful Truth, The (film), 16, 73, 174, 183; compared to Mr. and Mrs. Smith, 62–64
Bicycle Thief, The (film), 128
Birds, The (film), 7, 8, 38, 108, 115, 117, 198, 199–207, 217, 224, 252, 255, 256, 263, 270; affinities with European art films, 201–203; as allegory, 203; attack on Marnie in the attic, 204–206; role of camera, 202–204, 218; technical challenges, 199–201
Brooks, Peter, 43–45 Browne, Roscoe Lee, 258 Burks, Robert, 133, 134, 254, 257, 260, 292n1
career woman comedies, 68, 69, 70
Cavell, Stanley, 1, 2, 10, 26, 61, 69, 71, 141, 157, 282; on Emerson, 4–5, 18, 27, 208, 209, 214, 215, 270–77; on North by Northwest, 174; on poetry of film, 215; on skepticism, 49, 274–75; on temporality of film, 10, 12. See also comedy of remarriage; Contesting Tears; “little deaths”; melodrama of the unknown woman; moods; Pursuits of Happiness; World Viewed, The; writing (about films)
Cities of Words (Cavell), 2, 3, 4, 10, 18
comedy of remarriage, 1, 2, 54, 136, 140, 167, 175, 181, 186, 224, 249, 266; as exemplary of Emersonian perfectionism, 3–6, 11, 27, 38. 57–69, 279, 280, 284; relationship to Hitchcock thrillers, 2, 6, 8, 34–39, 49–51, 70–82, 73–77, 89, 172, 173–74
Dial “M” for Murder (film), 40, 104, 178
Don’t Look Back (film), 13
Du Maurier, Daphne, 59, 199
Emerson, Ralph Waldo, 3–11, 16, 24, 25, 50, 51, 77, 92, 130, 219, 221, 272; on eyes, 94, 148, 275, 278–79; on moods, 12, 19, 93, 213, 222, 274, 275, 279, 280; on expression, 222, 278–79; on reading and writing, 16–18, 28–29, 208, 270–71, 282–83; on skepticism, 272–75; on thinking, 11–15, 98, 209, 214, 271, 275–76, 280–83. See also “Behavior”; “Circles”; clutching; Emersonian perfectionism; “Experience,” “Fate,” “History”; “Intellect”; “Manners”; moods; “Self-Reliance”
Emersonian Perfectionism, 3–11, 24, 26–30, 32, 34, 36, 45, 58–61, 69, 172, 185, 271, 276, 284–85
“Experience” (essay), 8, 12, 18, 148, 208, 209, 213, 271–74, 276, 284. See also Emerson, Ralph Waldo
Foreign Correspondent (film), 74
Girl, The (BBC/HBO movie), 291n14
God, 43, 50, 51, 56, 100, 105, 107, 126, 128, 157, 168, 201, 203, 229, 236, 265, 274, 278; compared with godlike powers of film’s author, 50, 51, 131, 132, 134, 138, 139, 218
Gone With the Wind (film), 58–60
Grant, Cary, 5, 19, 31, 35, 49, 50, 61, 64, 65, 87, 174, 177, 199, 204, 256, 281, 284; as American hero, 15; capacity for murder, 75, 77; capacity for change, 87, 183; creation of, 71–72; as Emersonian sage, 16; as thinker, 13–16
Hedren, Tippi, 107, 199, 206, 220, 223, 224, 225, 230, 234, 236, 257
“Hitchcock and Fascism” (Wood), 79
Hitchcock signature practices, 6, 16, 37–38, 142, 148, 154, 171, 192, 208, 212, 214, 215, 221, 260; declarations of the camera, 16; making a character’s wishes “magically” come true, 35, 142, 171, 188, 207; signature motifs: ////, 37, 38, 126, 128, 154, 180, 192–93, 205, 230, 234, 245; circles, 16, 37, 38, 145, 148, 149, 150, 153, 195, 210–12, 230, 234; symbolic use of color, 179–80; tunnel shots, 37, 128, 138, 178, 212, 238, 240
Hitchcock: Suspense, Humour and Time (Smith), 288n11
Hitchcock: The Murderous Gaze (Rothman), 2, 6, 9, 10, 26–28, 45, 104, 142, 179, 186, 187, 191, 195, 229, 236, 261; catalog of Hitchcock signature motifs in, 37–38, 179–80, 211; relationship to Must We Kill the Thing We Love?, 7, 22, 24, 25, 29, 30, 140, 157, 188, 192–93, 223, 271, 285
“Hitchcock’s Emersonian Edges” (Meola), 28
Hitchcock’s Films (Wood), 27
Hitchcock’s Films Revisited (Wood), 27
Hitchcock’s Romantic Irony (Allen), 27
Hitchcock thriller, the, 11, 40, 54, 58, 59, 62, 104, 149, 170, 184, 186, 196, 201, 211, 214, 223, 260; relationship to comedies of remarriage, 2, 6, 8, 34–39, 49–51, 70–72, 73–77, 89, 172–74; relationship to melodrama of the unknown woman, 2, 141, 156, 161
inner reality, 113, 123, 124, 142, 145, 159, 186, 187, 212, 223, 225, 238, 242, 246
It Happened One Night (film), 1, 2, 6, 31, 32, 33, 35, 36, 59, 60, 66, 68, 174
Jules and Jim (film), 203
“Kaleidoscope” (proposed film project), 258, 260
Lady Vanishes, The (film), 6, 36, 40, 169
“Lamb to the Slaughter” (TV episode), 75
Letter from an Unknown Woman (film), 1, 88, 141, 161
“little deaths,” 49, 50, 57, 61, 70, 80, 88, 89, 94, 96, 109, 136, 186
Little Women (film and novel), 60
Lodger, The (film), 7, 21–24, 29, 39, 42, 46–48, 51, 59, 74, 126, 190, 193, 211
madness, 108, 112, 117, 130, 136, 137, 139, 186; and clairvoyance, 112, 115, 119, 123, 138
Man Who Knew Too Much, The (film, 1956), 18, 20, 23
Marnie (film), 107, 115, 144, 145, 148, 165, 199, 206, 207, 208–254, 255, 256, 257, 263; as Emersonian perfectionist text, 7, 8, 10, 28, 219–22, 253, 254; ending of, 246–54; “flashback,” 237–46; “rape” sequence, 225–34
Marshall, Herbert, 42, 65
“Mary Rose” (proposed film project), 10, 255, 268
master tones (in Emerson’s essays), 208, 214, 215
McCarey, Leo, 1, 11, 62 McCrea, Joel, 65
melodrama (nineteenth-century theatrical), 43–45, 47, 101
Melodramatic Imagination, The (Brooks), 43
Midsummer Night’s Dream (play), 69
miracles, 90, 107, 136, 139, 164, 176, 178; as opposed to “miracles,” 126, 130, 131
Montgomery, Robert, 63, 65
moods, 10, 12, 13, 14, 29, 90, 93, 104, 114, 133, 207, 214, 217, 224, 278, 283, 285; of faces and motions and settings, 14, 90, 96, 98, 133, 208, 271, 277, 281; flux or train of, 12, 19, 93, 213, 222, 274, 275, 279, 280
Mr. Deeds Goes to Town (film), 68
Murderous Gaze, The. See Hitchcock: The Murderous Gaze
My Man Godfrey (film), 66, 67
Nazis, 43, 51, 74, 76, 80, 82, 85, 86, 88, 89, 100, 169
North by Northwest (film), 2, 7, 8, 13, 18, 41, 42, 49, 74, 148, 173–84, 186, 196, 199, 204, 207, 209, 215, 223, 281, 284; images of its own birth, 176–82, 192, 193, 198, 209; relationship to remarriage comedies, 2, 8, 136, 173–75, 185
Nothing Sacred (film), 67
Notorious (film), 7, 19, 40, 42, 43, 74, 87–98, 99, 135, 170, 176, 183, 214, 252; ending of, 87–89; racetrack sequence, 89–98, 111, 281
permanence, 10, 11, 12, 15, 16, 23, 25, 51, 60, 97, 154, 174, 208, 234
Philadelphia Story, The (film), 33, 43, 61, 71, 73, 87, 173, 183, 229, 254; as Emersonian perfectionist text, 1, 2, 3, 58, 68, 75, 136
Philosophical Investigations (Wittgenstein), 275
Powell, William, 2, 65, 66
private island, 124, 125, 187, 190, 243, 263; projected world as, 124, 190, 203, 244, 248, 253, 255, 269
projected world, the, 39, 47, 62, 114, 115, 138, 142, 156, 179, 207, 210, 211, 238, 255; as separated from us by the screen, 38, 52, 97, 203, 215, 242, 247, 278; as suspended between reality and unreality, 212, 242, 268
Psycho (film), 8, 34, 121, 123, 125, 130, 134, 145, 148, 164, 185–98, 210, 215, 257, 269
Public Enemy, The (film), 32
Pursuits of Happiness (Cavell), 1, 2, 10, 16, 71
“Que sera, sera” (song title), 23
Random Harvest (film), 141, 162
reading, 4; of films, 7, 11, 12, 26, 27, 28, 270, 271, 281, 282; of Emerson’s essays, 11, 209; Emerson’s way of thinking about, 12, 18, 281
Rear Window (film), 47, 148
Red-Headed Woman (film), 32
Rules of the Game, The (film), 62
Sabotage (film), 6, 7, 19, 36, 40, 54–57, 78, 79, 133, 134, 169
Saint, Eva Marie, 13, 177
Secret Agent (film), 6, 7, 36, 40, 52–54, 56, 57, 78, 79, 86, 131, 169, 183
Shadow of a Doubt (film), 7, 42, 56, 78, 86, 104, 108, 157, 170, 171, 179, 187, 188, 203, 265, 273, 285
She Done Him Wrong (film), 71
“Short Night, The” (proposed film project), 263–66
Stewart, Donald Ogden, 33
suspense, 13, 18, 20, 22, 23, 24, 29, 114, 288n11; as opposed to surprise, 19, 97
Tale of Winter, A (film), 4, 162
temporality (of film), 11, 12, 13, 16, 18–25, 73, 997, 114, 123, 145, 208, 264, 269, 281. See also permanence; stasis; timelessness; transience
Theodora Goes Wild (film), 65
Thin Man, The (film), 2, 31
39 Steps, The (film), 6, 7, 36, 39, 40, 42, 49, 174, 261
transience, 10, 11, 12, 16, 23, 25, 97, 114, 123, 208
Trouble with Harry, The (film), 174, 266
Universal (studio), 10, 199, 210, 211, 255, 256, 257, 258, 259, 291n14
utilitarianism, 4, 52, 78
vertigo, 115, 123, 137, 144, 148, 153, 154, 157, 166, 188, 210, 273
Vertigo (film), 7, 9, 40, 101, 108, 112, 133, 139, 141–72, 185, 204, 206, 207, 209, 212, 240, 254, 270, 272; dream sequence, 142–56; ending of, 22, 96, 166–71, 186–87, 245, 209; flashback, 157–62; Hitchcock signature motifs in, 38, 126, 145–49, 154, 159, 162, 179, 221, 242; opening, 148–49, 179, 209, 215; as tragedy, 141, 171, 172, 173, 223; as turning point for Hitchcock, 171–72, 186, 196
villains, 6, 9, 13, 21, 40–48, 50, 59, 73, 81, 125, 138, 141, 156, 188, 191, 207, 217, 262, 269
Why We Fight (WWII film series), 3
Woman of the Year (film), 68
Wood, Robin, 26, 27, 43, 79, 80–82, 85, 218, 224, 228, 229
Wrong Man, The (film), 7, 108, 110–40; ending of, 110–12, 139–40; Manny’s vertigo, 112–15; the miracle, 126–30; role of reality in, 131–39; Rose’s attack on Manny, 115–24
writing (about films), 7, 10–12, 26, 29, 92, 93, 98, 193, 208, 271, 279, 284–85, 288n16
You Can’t Take It With You (film), 66