Alfred Hitchcock's The Rear Window: Cold War, Spatiality, and the Paranoid Subject / Beatrice Kohler.
This article investigates the notion of 'Cold War culture' by discussing Alfred Hitchcock's 1954 classic Rear Window with a particular focus on spatiality and paranoia. The cinematic screen is seen as a site where socio-cultural conflict is negotiated and political reality is transcoded into fiction...
| Publicado en: | Reconstruction: Studies in Contemporary Culture Vol. 14; no. 4; pp. 1 - 2 |
|---|---|
| Formato: | Film/TV Criticism and Review |
| Publicado: |
Reconstruction: Studies in Contemporary Culture
2014
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=100456118&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 100456118 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15474348 7CAJ jtl: Reconstruction: Studies in Contemporary Culture issn: 15474348 maglogo: N pubinfo: dt: 2014 vid: 14 iid: 4 pid: 47598 pub: Reconstruction: Studies in Contemporary Culture artinfo: ui: 100456118 ppf: 1 ppct: 1 formats: fmt: @attributes: type: T tig: atl: Alfred Hitchcock's The Rear Window: Cold War, Spatiality, and the Paranoid Subject / Beatrice Kohler. aug: su: Rear Window (Film) Hitchcock, Alfred, 1899-1980 Cold War, 1945-1991, in motion pictures sug: subj: Rear Window (Film) Hitchcock, Alfred, 1899-1980 Cold War, 1945-1991, in motion pictures keyword: Culture Studies Television & Film Visual Culture ab: This article investigates the notion of 'Cold War culture' by discussing Alfred Hitchcock's 1954 classic Rear Window with a particular focus on spatiality and paranoia. The cinematic screen is seen as a site where socio-cultural conflict is negotiated and political reality is transcoded into fictional narratives. Over and beyond the body of criticism that discusses the movie as a prime example of scopophilia and cinematic self-reflexivity, this paper attempts to combine extradiegetic politics with intradiegetic aesthetics: emerging from a culture of McCarthyite furor, post-war anxieties regarding the millions of soldiers returning from WWII and governmental infringement on privacy, Rear Window investigates the politics of suspicion, surveillance and individual agency by displacing these issues unto multiple imaginary screens that are subject to a paranoid misreading symptomatic of the American 1950s. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Reconstruction: Studies in Contemporary Culture is the property of Reconstruction: Studies in Contemporary Culture and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Reconstruction: Studies in Contemporary Culture holder: Reconstruction: Studies in Contemporary Culture dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
|---|