標(biāo)題: Titlebook: Children in the Films of Alfred Hitchcock; Debbie Olson Book 2014 Debbie Olson 2014 Alfred Hitchcock.children.cultural studies.film.Hollyw [打印本頁] 作者: 萬靈藥 時間: 2025-3-21 17:32
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書目名稱Children in the Films of Alfred Hitchcock讀者反饋學(xué)科排名
作者: Facet-Joints 時間: 2025-3-21 20:19
https://doi.org/10.1057/9781137472816Alfred Hitchcock; children; cultural studies; film; Hollywood; youth; society; classic Hollywood Cinema; cip作者: 蛤肉 時間: 2025-3-22 01:01
http://image.papertrans.cn/c/image/225207.jpg作者: 薄膜 時間: 2025-3-22 07:19 作者: 古老 時間: 2025-3-22 09:24 作者: INCUR 時間: 2025-3-22 16:16 作者: INCUR 時間: 2025-3-22 18:01 作者: glacial 時間: 2025-3-22 22:56
Hans VanDer Schaaf,Dara Shifrerhildren “missing” from Hitchcock’s films? Most obviously, in a purely literal sense, children appear prominently in a mere six Hitchcock films: . (1934), . (1936), . (1943), . (1955), . (1956), and . (1963). To these six films we could add the highly suggestive cameo appearances in . (1929), . (1937作者: 侵略 時間: 2025-3-23 04:51
https://doi.org/10.1007/978-1-4020-7942-9gunman, Edward Drayton: “Don’t you realize that Americans dislike having their children stolen?” Earlier in the movie, Jo McKenna entertains her son and husband by singing “Que Sera Sera,” and its playfulness becomes darkly ironic when she sings “the future’s not ours to see” on the eve of her son’s作者: 不近人情 時間: 2025-3-23 05:46
Roberta Arduini,Fabrizio Cesaroniite, pun.. The song “Que Sera, Sera” from the 1956 version is still popular today, although many listeners are unaware of the song’s filmic origins. Despite mainstream familiarity with these cultural elements, in early academic Hitchcock studies, the two films are casually referenced or missing alto作者: 產(chǎn)生 時間: 2025-3-23 12:35 作者: Facet-Joints 時間: 2025-3-23 17:36 作者: 熱烈的歡迎 時間: 2025-3-23 20:42
Is Big Business Good for the Environment?soon commit murder. As other park patrons queue up for the various attractions, Bruno strides intently toward the camera in pursuit of Miriam Haines, his intended victim, but he stops suddenly when the bold youngster pulls a six-shooter out of his holster to confront him. Decked out in cowboy hat, W作者: fidelity 時間: 2025-3-24 00:18
https://doi.org/10.1007/978-3-658-15559-9 autumn pastoral: birds and trees of ill-proportioned shapes and sizes, rendered primarily in hues of reds, oranges, and blues, a New England house with a porch and rocking chair, a shining sun, more birds, now looking to the right of the frame, before concluding with the incongruous image of a hori作者: chuckle 時間: 2025-3-24 02:54 作者: 高談闊論 時間: 2025-3-24 07:46
R-Calculi for Description Logics, importance, it is when they are examined through a psychological lens. . (1963) is no exception, as 11-year-old Cathy Brenner is usually discussed in relation to the conflict between Melanie Daniels and Lydia Brenner. But viewing “Cathy [as] significant primarily for her role in another woman’s psy作者: Aphorism 時間: 2025-3-24 11:31 作者: ostracize 時間: 2025-3-24 15:01
R-Calculus for ,-Valued PL, II,ey appear as ordinary, likeable adult fellows. But emotionally, they remain as dangerous children, whose conduct may revert to a primitive, subhuman level at any moment.” Although no children appear in . (1960), the dynamics of childhood and adolescence nevertheless play out across the screen in the作者: 樹木中 時間: 2025-3-24 22:56
R-Calculi for Post Three-Valued Logic,own stunt of October 2013 as “juvenile,” with Democratic California Representative Nancy Pelosi calling it a “tantrum,” and Republican Utah Senator Orrin Hatch admitting, “You’ve got to have the adults running the thing.” From that same wing of the party comes Sarah Palin’s exhortation to traditiona作者: Fallibility 時間: 2025-3-25 02:16 作者: 態(tài)度暖昧 時間: 2025-3-25 04:26 作者: Parameter 時間: 2025-3-25 07:47 作者: FAR 時間: 2025-3-25 11:40 作者: 使成核 時間: 2025-3-25 19:07 作者: Limited 時間: 2025-3-25 20:44
,Alfred Hitchcock’s Missing Children: Genre, Auteurship, and Audience Address,), . (1957), and . (1964). Finally, more abstrusely—but also more significantly in their centrality to the story—we should include the unseen, implied children of . (1960), . (1972), and, to a lesser extent, . (1945). Altogether, this amounts to 13 films, from a total of 54 that Hitchcock directed in his long and illustrious career.作者: 催眠藥 時間: 2025-3-26 01:13 作者: 打擊 時間: 2025-3-26 08:21
Is Big Business Good for the Environment?ppointed gunslinger, Bruno trumps his innocent show of aggression by reaching out with his cigarette to pop the child’s balloon before he—just as serenely—resumes his truly deadly pursuit of Guy Haines’s wife.作者: 假裝是我 時間: 2025-3-26 11:02 作者: 無瑕疵 時間: 2025-3-26 12:49 作者: Heart-Attack 時間: 2025-3-26 20:32
,Alfred Hitchcock’s Stylized Capture of Postadolescent Fatheads,ords and actions and resisting uncontrollable political urges as its definition of maturity. American literature is riddled with characters, such as Rip Van Winkle, Holden Caulfield, Willie Loman, and Alfred Hitchcock’s man-child, who struggle to “come of age.”作者: stroke 時間: 2025-3-26 22:14
Introduction,nvisions children and childhood. Alfred Hitchcock once intoned: “Fear isn’t so difficult to understand. After all, weren’t we all frightened as children?”—a sentiment that quietly wafts, like a fading perfume, through many of Hitchcock’s films. Francois Truffaut’s 1961 extended interview with Alfred作者: avenge 時間: 2025-3-27 02:04 作者: cacophony 時間: 2025-3-27 08:08
,“The Future’s Not Ours to See”: How Children and Young Adults Reflect the Anxiety of Lost Innocencegunman, Edward Drayton: “Don’t you realize that Americans dislike having their children stolen?” Earlier in the movie, Jo McKenna entertains her son and husband by singing “Que Sera Sera,” and its playfulness becomes darkly ironic when she sings “the future’s not ours to see” on the eve of her son’s作者: ETHER 時間: 2025-3-27 11:53 作者: 意見一致 時間: 2025-3-27 14:01
,No Laughing Matter: Imperiling Kids and Country in Alfred Hitchcock’s , (1936), as “testicle.”. Such levity lightened a grim subject, as young Tester played a boy caught in the explosive hi-jinks of international intrigue. But the director’s teasing also hints at the film’s greater political issue. In portraying the 12-year-old Stevie,. Tester embodied the figurative crown jew作者: perpetual 時間: 2025-3-27 19:06
,“If You Rip the Fronts Off Houses”: Killing Innocence in Alfred Hitchcock’s , (1943),g the killing of children. There is a notable exception to this in . (1936), one that occasioned a telling exchange between Hitchcock and Truffaut. Referring to the infamous scene in which a bus full of Londoners is killed by the explosion of a bomb carried by an unwitting young boy, Truffaut observ作者: 膽小懦夫 時間: 2025-3-27 22:16 作者: PUT 時間: 2025-3-28 02:25 作者: Hirsutism 時間: 2025-3-28 06:54 作者: 過于光澤 時間: 2025-3-28 13:45 作者: 無畏 時間: 2025-3-28 17:41
,“It’s the End of the World!”: The Influence of , on the Evil Child Film,fashion about “the birds and their ageold relationship with man.” Citing the numerous means by which humanity has slaughtered and exploited birds for fun, fashion, and food, the director presents various artifacts—a rifle, a feathered hat, a roast chicken—to illustrate his point. Hitchcock opens the作者: 異教徒 時間: 2025-3-28 20:29
Psycho without a Cause: Norman Bates and Juvenile Delinquency Cinema,ey appear as ordinary, likeable adult fellows. But emotionally, they remain as dangerous children, whose conduct may revert to a primitive, subhuman level at any moment.” Although no children appear in . (1960), the dynamics of childhood and adolescence nevertheless play out across the screen in the作者: 瘋狂 時間: 2025-3-29 00:47 作者: 戲法 時間: 2025-3-29 05:32
Aswin Sampath Kumar,Tu?rul Daim that this unusual experience unfortunately resulted in him developing a lifelong fear of the police.. As an adult, this fear prohibited him from such ordinary activities as driving because he was so terrified of being pulled over that he could not bring himself to risk it (a fear he masterfully vis作者: 杠桿支點 時間: 2025-3-29 09:09 作者: CLAN 時間: 2025-3-29 14:57
https://doi.org/10.1007/978-3-658-15559-9,. immediately establish the film’s off-key, childlike point of view. As Ed Sikov argues: “Steinberg’s cartoon vision of nature in the credits sequence is both juvenile and grotesque, as if drawn by a disturbed child. It exudes an element of corruption that distorts what might otherwise be a kinderg作者: LIEN 時間: 2025-3-29 16:26
https://doi.org/10.1007/978-3-658-15559-9., that of Cathy Brenner (Veronica Cartwright), undoubtedly displays such knowingness, yet paradoxically, many other scenes in this film that feature children seem to suggest otherwise. For example, part way through, a young boy cries “are the birds going to eat us, mummy?” as Bodega Bay, a small to作者: 按等級 時間: 2025-3-29 20:46
R-Calculi for Description Logics,isis. And, in fact, a political analysis of the film allows viewers to see her as a leader in a new political landscape, which calls for the rejection of universal stereotypes and fear-based judgments.作者: 彩色 時間: 2025-3-30 02:40
R-Calculi for First-Order Logic,notes that the message Hitchcock is “at pains to encourage” in the trailer is that “birds are taking revenge for man’s persecution of them.”. Although the film itself does not offer any clear motivation for the bird attacks, the theme of small harmless creatures taking revenge en masse against a com作者: mighty 時間: 2025-3-30 07:33 作者: 使出神 時間: 2025-3-30 08:53 作者: perpetual 時間: 2025-3-30 12:39 作者: Banister 時間: 2025-3-30 17:04
,Renegotiating Romanticism and the All-American Boy Child: Alfred Hitchcock’s , (1955),,. immediately establish the film’s off-key, childlike point of view. As Ed Sikov argues: “Steinberg’s cartoon vision of nature in the credits sequence is both juvenile and grotesque, as if drawn by a disturbed child. It exudes an element of corruption that distorts what might otherwise be a kinderg作者: LAPSE 時間: 2025-3-30 22:39
