FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W305384164> ?p ?o ?g. }

• W305384164 startingPage "18" @default.
• W305384164 abstract "It is fitting that Under Capricorn was Ingrid Bergman's last `studio' film (her third and final project with Alfred Hitchcock) prior to her series of collaborative works with Roberto Rossellini in Italy. Under Capricorn is a film which exemplifies a particular system of filmmaking production--identifiable as a Bergman star vehicle, a variant of the gothic melodrama, an Alfred Hitchcock film--but is also an adieu to it. Planned as a `prestige' production, it was to be the debut film for Hitchcock and producer Sidney Bernstein's nascent Transatlantic Pictures, to be shot in Britain after almost a decade of Hitchcock's working in Hollywood. Because Bergman was engaged in other projects, the film was delayed until she was available and consequently was the company's second production following Rope. It was unpopular with the public and critical community alike. Aside from the attention and support the film received from Cahiers du Cinema and its critics (Jean Domarchi's review appeared in Cahiers du Cinema No. 39, Jacques Rivette's in La Gazette du Cinema No. 4, Eric Rohmer and Claude Chabrol include a brief discussion in Hitchcock, New York: Frederick Ungar, 1979) and a valuable reading of Under Capricorn in the context of Bergman's star image by Robin Wood in Hitchcock's Films Revisited (New York: Columbia University Press, 1989) the film remains virtually ignored. Under Capricorn deliberately evokes the memory of earlier achievements. It summons forth the gothic melodrama and Bergman's star persona as a form of shorthand, to address the tensions surrounding gender relations and specifically, the institution of marriage, but then remarkably moves beyond the familiar parameters it signals through its rejection of one of the mainstays which sustains the genre: self-abnegation and sacrifice. The necessity of the woman's sacrifice--she renounces her identity, her right to speak, desire and ultimately, to remain sane, in order to assuage and validate her husband's fragile ego--fuels the intense emotional terrain dramatized in these narratives. If their popularity is attributable to the space they allow for fantasies of resistance (or at least, the articulation of dissatisfaction) they still remain embedded in the values of a society that cannot conceive of marriage as a union rooted in a bond of love and mutual respect that overcomes the inequities of gender and class. It is the entrenchraent of these ideological values that vitalizes the woman's film. The genre gives a shape and form to an unspoken truth, namely, that marital relations are built upon the woman's denial of her strength, her sexuality, her claim to an identity outside of the home. By offering a resolution which envisions the promise of a future for the couple based on a rejection of secrecy and denial, Under Capricorn foresees the possibility of movement beyond the claustration of the gothic. Ultimately, it reclaims the viability of romantic love for the marriage. Bergman's star persona is a perfect cipher for dramatizing these concerns, and it is not accidental that the flowering of her career and the woman's film, and the Freudian/gothic melodrama in particular, coincided. Bergman's sensuality, intelligence and assertiveness, her secure identity, is threatening to the status quo. A number of critics have remarked upon the trajectory of punishment and abuse that is a typical response to the resistance she naturalizes and presents. Bergman's star persona is inherently transgressive and Hitchcock exploited its oppositional potential twice before Under Capricorn in Spellbound (1945) and Notorious (1946)(1). At the same time, the persona, as a figure of positive identification, is radicalized by the star's ability to synthesize opposition with integrity. This extraordinary aspect of the Bergman persona is carefully elaborated and reinforced in a series of key performances in the 40% culminating, arguably, in Cukor's quintessential gothic masterpiece Gaslight. …" @default.
• W305384164 created "2016-06-24" @default.
• W305384164 creator A5043834658 @default.
• W305384164 date "2000-01-01" @default.
• W305384164 modified "2023-09-24" @default.
• W305384164 title "Under Capricorn: Hitchcock in Transition" @default.
• W305384164 hasPublicationYear "2000" @default.
• W305384164 type Work @default.
• W305384164 sameAs 305384164 @default.
• W305384164 citedByCount "0" @default.
• W305384164 crossrefType "journal-article" @default.
• W305384164 hasAuthorship W305384164A5043834658 @default.
• W305384164 hasConcept C124952713 @default.
• W305384164 hasConcept C142362112 @default.
• W305384164 hasConcept C159390177 @default.
• W305384164 hasConcept C166957645 @default.
• W305384164 hasConcept C178790620 @default.
• W305384164 hasConcept C185592680 @default.
• W305384164 hasConcept C2778120072 @default.
• W305384164 hasConcept C2778344882 @default.
• W305384164 hasConcept C2779343474 @default.
• W305384164 hasConcept C2780458788 @default.
• W305384164 hasConcept C2781231848 @default.
• W305384164 hasConcept C39432304 @default.
• W305384164 hasConcept C519580073 @default.
• W305384164 hasConcept C52119013 @default.
• W305384164 hasConcept C95457728 @default.
• W305384164 hasConceptScore W305384164C124952713 @default.
• W305384164 hasConceptScore W305384164C142362112 @default.
• W305384164 hasConceptScore W305384164C159390177 @default.
• W305384164 hasConceptScore W305384164C166957645 @default.
• W305384164 hasConceptScore W305384164C178790620 @default.
• W305384164 hasConceptScore W305384164C185592680 @default.
• W305384164 hasConceptScore W305384164C2778120072 @default.
• W305384164 hasConceptScore W305384164C2778344882 @default.
• W305384164 hasConceptScore W305384164C2779343474 @default.
• W305384164 hasConceptScore W305384164C2780458788 @default.
• W305384164 hasConceptScore W305384164C2781231848 @default.
• W305384164 hasConceptScore W305384164C39432304 @default.
• W305384164 hasConceptScore W305384164C519580073 @default.
• W305384164 hasConceptScore W305384164C52119013 @default.
• W305384164 hasConceptScore W305384164C95457728 @default.
• W305384164 hasIssue "52" @default.
• W305384164 hasLocation W3053841641 @default.
• W305384164 hasOpenAccess W305384164 @default.
• W305384164 hasPrimaryLocation W3053841641 @default.
• W305384164 hasRelatedWork W100976872 @default.
• W305384164 hasRelatedWork W129713135 @default.
• W305384164 hasRelatedWork W149585183 @default.
• W305384164 hasRelatedWork W1501446576 @default.
• W305384164 hasRelatedWork W2054305173 @default.
• W305384164 hasRelatedWork W207149263 @default.
• W305384164 hasRelatedWork W216693447 @default.
• W305384164 hasRelatedWork W218908929 @default.
• W305384164 hasRelatedWork W2319170692 @default.
• W305384164 hasRelatedWork W2320409299 @default.
• W305384164 hasRelatedWork W2321274913 @default.
• W305384164 hasRelatedWork W2580075588 @default.
• W305384164 hasRelatedWork W282229913 @default.
• W305384164 hasRelatedWork W327400249 @default.
• W305384164 hasRelatedWork W37296157 @default.
• W305384164 hasRelatedWork W95413855 @default.
• W305384164 hasRelatedWork W1179822062 @default.
• W305384164 hasRelatedWork W186940848 @default.
• W305384164 hasRelatedWork W257627077 @default.
• W305384164 hasRelatedWork W305885863 @default.
• W305384164 isParatext "false" @default.
• W305384164 isRetracted "false" @default.
• W305384164 magId "305384164" @default.
• W305384164 workType "article" @default.