“ well, would you look at that”: hitchcock's most elusive film

“WELL, WOULD YOU LOOK AT THAT”: HITCHCOCK'S MOST

ELUSIVE FILM

A WOMAN’S FILM?

WOULD YOU LOOK AT THAT:GIRLY STUFF

ONLY GIRLY STUFF?

HITCHCOCK: [DE]CONSTRUCTING THE

GAZE

LOOK AT THAT: PLEASURING MULVEY’S MALE

HITCHCOCK: [RE]CONSTRUCTING THE

GAZE

WELL, WOULD YA JUST LOOK AT THAT: WHO IS

WATCHING?

I TELL YA … YOU GOTTA LOOK AT IT:

FEMALE GAZE FRAMED BY THE MALE

SHARED PHALLIC OBJECT

TO CATCH THE THIEF:Nouveau Riche Whiteness

WHITENESS = CLASS MOBILITY

CLASS MOBILITY = ANXIETY

STEALING OUR STATUS

CREEPING INTO OUR NEIGHBORHOODS

THE CAMERA’S FOCUS:FETISHING AFFLUENCE

FETISHING LIFESTYLE

FETISHING WEALTH

MAINTAINING DIFFERENCES

THE CAMERA’S FOCUS: DIFFERENCE

THE FILM’S GRASP

Working Bibliography Cohen, Tom. "Beyond "The Gaze": Zizek, Hitchcock, and the American Sublime." American Literary History 7.2 (1995): 350-78. JStor. Web. 10 Oct. 2012.

Durgnat, Raymond. The Strange Case of Alfred Hitchcock, or the Plain Man's Hitchcock. Cambridge: The MIT Press, 1974. Print.

Dyer, Richard. "Don't Look Now: The Male Pin-up." Trans. Array The Sexual Subject: A Screen Reader in Sexuality. Screen. 1st. London: Routledge, 1992. 265-276. Print.

Higham, Charles. "Hitchcock’s World." Film Quarterly. 16.2 (1962-1963): 3-16. Web. 11 Oct. 2012. <www.jstor.com>.

Kael, Pauline. When the Lights Go Down. 1st. New York: Holt, Rinehart and Winston, 1980. Print.

Kaplan, E. Ann. "Troubling Genre/Reconstructing Gender." Trans. Array Gender Meets Genre in Postwar Cinema. Christine Gledhill. 1st. Chicago: University of Illinois Press, 2012. 71-83. 

McDevitt, Jim, and Eric San Juan. A Year of Hitchcock: 52 Weeks with the Master of Suspense. Lanham, Maryland: Scarecrow Press, 2009. Print.

McGilligan, Patrick. Alfred Hitchcock: A Life in Darkness and Light. 1st. New York: HarperCollins, Print.

McGowan, Todd. "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes." Cinema Journal 42.3 (2003): 27-47.JStor. Web. 3 Oct. 2012.

Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Trans. Array Critical Visions in Film Theory. Timothy Corrigan, Patricia White and Meta Mazaj. 1st. Boston: Bedford/St.Martin's, 2011. 713-725. Print.

Neale, Steve. "Masculinity as Spectacle: Reflections on Men and Mainstream Media." Trans. Array Screening the Male: Exploring Masculinities in Hollywood Cinema. Steven Cohen and Ira Rae Hark. 1st. London: Routledge, 1993. Print.

Neale, Steve. "Masculinity as Spectacle." Trans. Array The Sexual Subject: A Screen Reader in Sexuality. Screen. 1st. London: Routledge, 1992. 265-276. Print.

Shandley, Robert. "Sun Scream: Alfred Hitchcock and the Anxiety of the Tourist." Tamkang Review. 35.3-4 (2005): 264-284. Print.

Truffaut, Francois. Hitchcock. New York: Simon & Schuster Paperbacks, 1983. Print.

Wood, Robin. Hitchcock's Films Revisited. New York: Columbia University Press, 2002. Print.

Zimmerman, Steve, and Karen Weiss. Food in the Movies. Jefferson, North Carlolina: MacFarland & Company, 2005. Print.

Zizek, Slavoj, ed. Everything You Always Wanted to Know About Lacan (But were Afraid to Ask Hitchcock). London: Verso, 2002. Print

1. How might this film also be viewed as a man’s film? Does this problematize the notion of the “Whiteness Gaze”?

2. Perhaps this film was just a way to give Hitchcock a paid vacation. Does it still have academic value? If so, why so little academic commentary?

3. Cary Grant was left unattended for much of this film, picking his own costumes, muddling up lines, changing blocking at will … Why might he have been given this type of freedom from the auteur?

4. Any other questions or suggestions for me?

STUDY QUESTIONS