Titlebook: Alfred Hitchcock‘s Vertigo and the Hermeneutic Spiral; Robert J. Belton Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Hit

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書(shū)目名稱(chēng)Alfred Hitchcock‘s Vertigo and the Hermeneutic Spiral影響因子(影響力)學(xué)科排名




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書(shū)目名稱(chēng)Alfred Hitchcock‘s Vertigo and the Hermeneutic Spiral網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




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替代品

The Hermeneutic Spiral,e beyond which some will put too much of themselves into their interpretations. Years ago, for instance, I had a friend who was utterly convinced that ., the 1978 Richard Donner film starring Christopher Reeve, was a sequel to Stanley Kubrick’s . (1968). Should the meditations of such critical “outl

新鮮

Vertigo,id-twentieth-century film history, generating dozens of psychoanalytical, feminist, postfeminist, Lacanian, formalist and other readings. Many of these interpretations depend on revisions of earlier observations within the work and/or the production of new observations. The chapter “Vertigo” provide

incubus

Forcing Insight with Sight and the Availability Heuristic,terial, followed by a consideration of two psychological phenomena, the availability heuristic and confirmation bias. The latter begins to explain differences of critical opinion in the light of differing individual experiences, which, though they occur outside ., are as constitutive of its “meaning

卡死偷電

,,, Duchamp’s , and a ?i?ekian Brassiere,gh the availability heuristic and confirmation bias. Certain details that would have passed unnoticed in early viewings of . now stand out as more meaningful than first thought. I argue that some of these are examples of “Hitchcockian blots,” after ?i?ek, that have gone unnoticed. A case in point is

Adornment

,,, Man Ray’s ,, and Flowers,d greater emphasis on symbolic details in .. A close-up of a hyacinth in the early film seems to symbolize both a threat to sexuality and a reinforcement of it, making it an example of an auto-antonym (or contranym). Words like “dust” or “trim” can mean either “add” or “remove,” as one might dust a

STRIA

Observe

,,, Lynch’s , and the Record Player,nt-garde alike, turntables serve as devices that generate anxiety and symbolize sexual activity and violent acts. In ., however, they cast light on the possibility that there is a rich vein of risqué humor in the film, serving to disguise an underlying meditation on masculine virility as a wobbly rh

Landlocked

reptile

,, Spatial Mental Models and the Uncanny,ychological structures that are malfunctioning. Scattered within them are objects that signify cognitive distress. They take the form of Uncanny objects teetering between an inanimate world and a threateningly animate one.