References

Chapters in this book

1. Frontmatter 1
2. Contents 7
3. Acknowledgements 13
4. Introduction 15
5. Part I Hitchcock, Motifs and Melodrama
6. Introduction 25
7. Three motifs 26
8. Melodrama and Hitchcock’s motifs 30
9. An elaborated motif: the Bed Scene in Rebecca and Marnie 35
10. A melodramatic motif: hands 43
11. Diagrammatic representations 46
12. Overview of the key motifs 50
13. Part II The Key Motifs
14. BED SCENE 57
15. BLONDES AND BRUNETTES 69
16. CAMEO APPEARANCES 87
17. CHILDREN 98
18. CONFINED SPACES 111
19. THE CORPSE 123
20. DOGS AND CATS 142
21. DOUBLES 146
22. ENDINGS AND THE POLICE 154
23. ENTRY THROUGH A WINDOW 158
24. EXHIBITIONISM / VOYEURISM / THE LOOK 164
25. FOOD AND MEALS 179
26. GUILT AND CONFESSION 201
27. HANDCUFFS AND BONDAGE 214
28. HANDS 220
29. HEIGHTS AND FALLING 238
30. HOMOSEXUALITY 248
31. JEWELLERY 262
32. KEYS AND HANDBAGS 269
33. LIGHT(S) 286
34. THE MACGUFFIN 296
35. MOTHERS AND HOUSES 307
36. PORTRAITS, PAINTINGS AND PAINTERS 319
37. PUBLIC DISTURBANCES 335
38. SPECTACLES 344
39. STAIRCASES 350
40. TRAINS AND BOATS / PLANES AND BUSES 373
41. WATER AND RAIN 388
42. Appendix I: TV Episodes 401
43. Appendix II: Articles on Hitchcock’s motifs 416
44. Appendix III: Definitions 418
45. References 421
46. Filmography 431
47. List of illustrations 463
48. Index of Hitchcock’s films and their motifs 467
49. General index 481
50. Film Culture in Transition 491