FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1440597777> ?p ?o ?g. }

• W1440597777 startingPage "15" @default.
• W1440597777 abstract "[ILLUSTRATION OMITTED] The following reading of was originally published as the second part of an article entitled and Feminist Criticism: From Rebecca to Marnie in Thomas Leitch and Leland Poague's co-edited anthology, A Companion to Alfred Hitchcock. Oxford: Wiley-Blackwell, 2011. I thank Wiley-Blackwell for their permission to reprint a part in Cineaction. I argue that Hitchcock's women-centred films present an articulated critique of the tensions underlying gender relations and marriage, through a sophisticated use of generic conventions, irony, and most importantly, a complex empathetic identification with the female protagonist. This reading acknowledges the precedents set by critics like Robin Wood and Andrew Britton in claiming the profound value of these films for a female audience. (1) Like Rebecca, Vertigo and Psycho, is a film that evolves from a classical realist tradition, but its greatness is attributable to the manner in which it creatively redefines the conventions from which it draws. Marnie's sources are the woman's film and its gothic variant. Hitchcock described the film as a character study and a psychological mystery (Truffaut 238). It is a character study of a woman traumatized as a child by an event involving her mother, a single parent and prostitute, and one of her clients, a sailor. harbors this trauma as a repressed memory; as an adult, she is both a compulsive thief and terrified of sexual contact with men. One of her employers falls in love with her, blackmails her into marriage, has sex with her against her wishes on their honeymoon, and finally insists that she confront her mother about the past as a step towards her recovery. (One of the things she learns is that she was conceived as a result of a barter--sex exchanged for a basketball sweater.) It is not surprising that was unpopular with audiences and critics alike; even on the surface level of plot, it is a challenging film. The film is structured as a mystery, revealing the details of the traumatic incident as a key to understanding Marnie, and as such demands that the audience assemble its meaning in a sophisticated manner. The romance between (Tippi Hedren) and Mark (Sean Connery) is also notably problematic. The deep affection develops for Mark remains distinct from a suggestion of sexual desire which may, in part, be attributable to casting. Hitchcock's original choice for the role of Marnie, Grace Kelly, might have resulted in a work more consistent with the traditions of classical Hollywood and would have created a different relationship with Sean Connery, one potentially more sexually charged. Tippi Hedren's star image is entirely different, The Birds being her only film prior to Marnie. She manifests vulnerability beneath the veneer of the competent, assured young woman, as well as a facade that is more private and inscrutable. Tippi Hedren's is less accessible to Mark, and one might argue that this reserve hampers the romantic formation of the couple. safeguards and disguises herself, creating, as a result, a character that is less assimilable. Hedren's weights the film away from Mark, towards the mother/ daughter relationship (a theme hinted at in The Birds), emphasizing her resistance to reliving her mother's oppressive experience instead of her integration into society. can be read as a variant of Rebecca in that it highlights a woman's difficulty (with Marnie, her failure) in negotiating the oedipal trajectory and her problematic attachment to another woman, here the mother. A feminist interpretation might suggest that the criminal heroine is saved by the hero who renders her safe (cured of her transgressive independence) and available to him. A closer reading of suggests a film more significantly about the daughter's intense commitment to the mother, of the difficulty of separation and forming a viable identity. …" @default.
• W1440597777 created "2016-06-24" @default.
• W1440597777 creator A5043834658 @default.
• W1440597777 date "2015-06-22" @default.
• W1440597777 modified "2023-09-23" @default.
• W1440597777 title "A Feminist Reading of Hitchcock's Marnie" @default.
• W1440597777 hasPublicationYear "2015" @default.
• W1440597777 type Work @default.
• W1440597777 sameAs 1440597777 @default.
• W1440597777 citedByCount "0" @default.
• W1440597777 crossrefType "journal-article" @default.
• W1440597777 hasAuthorship W1440597777A5043834658 @default.
• W1440597777 hasConcept C11171543 @default.
• W1440597777 hasConcept C119857082 @default.
• W1440597777 hasConcept C124952713 @default.
• W1440597777 hasConcept C138885662 @default.
• W1440597777 hasConcept C142362112 @default.
• W1440597777 hasConcept C144024400 @default.
• W1440597777 hasConcept C15744967 @default.
• W1440597777 hasConcept C2524010 @default.
• W1440597777 hasConcept C2776291640 @default.
• W1440597777 hasConcept C2779975665 @default.
• W1440597777 hasConcept C2780861071 @default.
• W1440597777 hasConcept C33923547 @default.
• W1440597777 hasConcept C41008148 @default.
• W1440597777 hasConcept C41895202 @default.
• W1440597777 hasConcept C554936623 @default.
• W1440597777 hasConcept C7991579 @default.
• W1440597777 hasConcept C94389720 @default.
• W1440597777 hasConceptScore W1440597777C11171543 @default.
• W1440597777 hasConceptScore W1440597777C119857082 @default.
• W1440597777 hasConceptScore W1440597777C124952713 @default.
• W1440597777 hasConceptScore W1440597777C138885662 @default.
• W1440597777 hasConceptScore W1440597777C142362112 @default.
• W1440597777 hasConceptScore W1440597777C144024400 @default.
• W1440597777 hasConceptScore W1440597777C15744967 @default.
• W1440597777 hasConceptScore W1440597777C2524010 @default.
• W1440597777 hasConceptScore W1440597777C2776291640 @default.
• W1440597777 hasConceptScore W1440597777C2779975665 @default.
• W1440597777 hasConceptScore W1440597777C2780861071 @default.
• W1440597777 hasConceptScore W1440597777C33923547 @default.
• W1440597777 hasConceptScore W1440597777C41008148 @default.
• W1440597777 hasConceptScore W1440597777C41895202 @default.
• W1440597777 hasConceptScore W1440597777C554936623 @default.
• W1440597777 hasConceptScore W1440597777C7991579 @default.
• W1440597777 hasConceptScore W1440597777C94389720 @default.
• W1440597777 hasIssue "96" @default.
• W1440597777 hasLocation W14405977771 @default.
• W1440597777 hasOpenAccess W1440597777 @default.
• W1440597777 hasPrimaryLocation W14405977771 @default.
• W1440597777 hasRelatedWork W147324037 @default.
• W1440597777 hasRelatedWork W1579668498 @default.
• W1440597777 hasRelatedWork W1998252725 @default.
• W1440597777 hasRelatedWork W2018764843 @default.
• W1440597777 hasRelatedWork W204980140 @default.
• W1440597777 hasRelatedWork W2077352302 @default.
• W1440597777 hasRelatedWork W2089294731 @default.
• W1440597777 hasRelatedWork W2259505606 @default.
• W1440597777 hasRelatedWork W2281790274 @default.
• W1440597777 hasRelatedWork W2324227792 @default.
• W1440597777 hasRelatedWork W2498349086 @default.
• W1440597777 hasRelatedWork W263490259 @default.
• W1440597777 hasRelatedWork W264631296 @default.
• W1440597777 hasRelatedWork W341182560 @default.
• W1440597777 hasRelatedWork W343143741 @default.
• W1440597777 hasRelatedWork W34326690 @default.
• W1440597777 hasRelatedWork W889854426 @default.
• W1440597777 hasRelatedWork W1523266093 @default.
• W1440597777 hasRelatedWork W231678306 @default.
• W1440597777 hasRelatedWork W2762308393 @default.
• W1440597777 isParatext "false" @default.
• W1440597777 isRetracted "false" @default.
• W1440597777 magId "1440597777" @default.
• W1440597777 workType "article" @default.