This critical perspective creates a narrative allegory which projects onto a film text its own narrative assumptions: thus a film like Shadow of a Doubt is read as a patriarchal tale of a young woman's transgression, punishment, and return to the family structure (e.g., McLaughlin). Instead, many feminist critics conclude that, because his films mirror images and structures of a vicious and vengeful patriarchal system repeatedly subjecting women to male violence, the narratives close off any possibility of women escaping this oppression (e.g., McLaughlin, Mulvey, Williams). Michele Barrett, Women's Oppression Todayīecause almost every film directed by Alfred Hitchcock depicts encounters between men and women which reflect the values of a patriarchal order, his films are not often claimed as feminist texts. reprinted in "Framing Hitchcock: Selected Essays from the Hitchcock Annual" - edited by Sidney Gottlieb and Christopher BrookhouseĪrticle An analysis of gender ideology in which women are always innocent, always passive victims of patriarchal power, is patently not satisfactory.keywords: Alfred Hitchcock, California, Feminist Analysis, Gender Roles, James McLaughlin, Laura Mulvey, Misogyny, Notorious (1946), Patrice Petro, Psycho (1960), Rear Window (1954), Santa Rosa, Santa Rosa, California, Shadow of a Doubt (1943), Tania Modleski, The Birds (1963), The Lady Vanishes (1938), Vertigo (1958)Ĭtx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info:sid/&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=HITCHCOCK+THE+FEMINIST%3A+REREADING+SHADOW+OF+A+DOUBT&rft.jtitle=Hitchcock+Annual&rft.au=Thomas+Hemmeter&rft.date=&rft.issn=1062-5518&rft.spage=12&rft.externalDBID=HTAN&rft.externalDocID=1481963871 Links.journal: Hitchcock Annual (01/Jul/1993). ![]() ![]()
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