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• W9882308 abstract "Hanging Christopher D. Morris. Hanging Figure: On Suspense and the Films of Alfred Hitchcock. Westport: Praeger, 2002. 314 pp. $65.50 cloth. Alfred is widely regarded as a great artist, infinitely more profound than a master of mere suspense. In Hanging Figure: On Suspense and the Films of Alfred Hitchcock, Christopher Morris defines suspense, through interdisciplinary scholarship, not as our anticipation of what will happen next to an admired protagonist. This fails to account for recidivist upon subsequent viewings of, say, a film. Rather, Morris suggests that was effectively a deconstructionist, and the resides, as in all art, in undecidability. Thus in Rear Window, is not just about accused murderer Thorwald's invading Jeffries's apartment to do physical harm. When Thorwald asks, What is it that you want from me? neither Jeff nor the viewer can answer. said, The world is a 'glamorously dangerous charade.' So also film-photons on a screen, clignotements, images of actors and objects-consists of signs without referents in endless, unpredictable relays of meanings. history of criticism-whether New Critical, feminist, or New Historicist-has variously explicated the director's bleak view of the universe, or his gender or Cold War ideology. But figure and ground, the ground, too, is figural, both inside and outside the text. Morris shows how interpretation follows the de Manian two-stage act common to all hermeneutics: First we observe a figure, then apply a series of assumptions, a code-say, psychoanalysis, feminism, postcolonial, or queer theory-by which we may work our way through previous New Critical or other interpretations, eagerly anticipating some bottom of things that proves the validity of our pet framework. promise of graspable meanings is seductive, inevitable, and futile. Yet Morris gives exquisite, close readings of eleven of the master's films, elaborating aspects of most others in passing, yielding, he avers, no rich ambiguities, no paradoxes, nor any Concordia discors, but the of arbitrary signs. His subject, theme, and mode of analysis are complex and demanding; his avowed misreadings well earned. But rather than write an abstruse prose supposedly organic the mode, Morris proceeds in a clear, engaging-I daresay readable-style, insisting that all signifying practices are unreadable. His working hypothesis is that suspense is best understood not discursively but figuratively, a trope for which is Hitchcock's oft-repeated hanging figure. He could as likely have chosen doorways, portraits, jewels, or other iconographic representations found in the Montreal Museum of Fine Arts at an exhibition of Hitchcock and Art: Fatal Coincidences in 2001. Arbitrary signs apply equally to criticism: Contrary approaches in studies cancel themselves out, engendering still more questions about the films. Morris would expose the erroneous assumptions in all ways of knowing. And Hitchcock's conflating the MacGuffin-or empty plot pretext-with his famous cameos is telling. This parabasis implies no real identity, either before or behind the camera, only baseless successions of personae. Thus, the act of film direction becomes associated with the most questionable transfer of all, the shift from sign to referent. So much for the auteur, for artwork exists independently of its creator. Cartesian Self, Western metaphysics, and the unconscious come under doubt. phenomenological world in general and Hitchcock's art in particular are but circulating signs (a la Derrida's trope of the postal) devoid of any identifiable origins, causality, reference, or inherent meaning. To illustrate the apparent universality of art's self-reflexive deconstruction, Morris researches current theories of suspense, and Hitchcock's own contradictory remarks on the subject, only then to analyze various examples of suspended figures in noncinematic, visual art across cultures and time. …" @default.
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• W9882308 date "2004-01-01" @default.
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• W9882308 title "Hanging with Hitchcock" @default.
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