Professional Documents
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Works of Alfred Hitchcock An Analysis
Works of Alfred Hitchcock An Analysis
Faculty of Arts
Department of English
and American Studies
2013
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I declare that I have worked on this thesis independently,
using only the sources listed in the bibliography.
……………………………………………
Author’s signature
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I would like to thank my supervisor doc. PhDr. Tomáš Pospíšil, Dr. for his
advice, guidance and support.
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Table of Contents
1. Introduction…………………………………………………………………….5
2. Hitchcock Biography…………………………………………………………..8
5. Suspense…………………………………………………………………….…39
5.1 Suspense…………………………………………………………….……..39
6. Conclusion……………………………………………………………..………73
Bibliography………………………………………………………………...……..77
Czech Abstract…………………………………………………………….………82
English Abstract………………………………………………………..………….83
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1. Introduction
This thesis focuses on the works of Alfred Hitchcock, British born director, who
is one of the most recognized movie directors of all time. The thesis aims on
Hitchcock´s films in general pointing out the unifying elements which connect them but
the core of the thesis and its main focus is directed at suspense, how Hitchcock
employed suspense in his films and the techniques he used to generate it. In order to
connect the thesis from a very specific field of film studies to a more general
perspective of cultural studies, the thesis also provides short examination of Hitchcock´s
author style related to auteur theory and also cultural impact of Hitchcock´s persona is
examined by a general overview of his reception in Europe and in the United States.
Alfred Hitchcock was connected with film industry almost since its very
beginning when it was making the first steps to utilize its significant potential in
entertainment provision. There have not been many film directors that would leave such
emerge from these islands (British), Hitchcock did more than any director to shape
modern cinema, which would be utterly different without him. His flair was for
narrative, cruelly withholding crucial information (from his characters and from us) and
engaging the emotions of the audience like no one else‖ (Smith 85). The master of
suspense is one of the most often used nicknames for the director who became almost
the official representative of suspense and psychological thriller movies. Hitchcock was
famous for exploiting the combination of love and murder and the works from his
repertoire, which contains more than fifty films, all share his signature style. ―In
America you respect him because he shoots scenes of love as if they were scenes of
murder. In Europe we respect him because he shoots scenes of murder like scenes of
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love. Anyway, it´s the same man we are talking about, the same man, and the same
artist‖ (Truffaut, Hitchcock 18). Hitchcock ventured into numerous genres and
experimented with a variety of techniques that made him a very versatile and reliable
director he was and still is a major figure in popular culture. ―He was one of the
founding fathers of the cinematic art and, together with Eisenstein and Murnau, helped
define its visual language. So fruitful was he that a single film could spawn an entire
genre, as Psycho helped create the modern horror film and North by Northwest the style
and tone of the James Bond films, not so much cloak and dagger as tuxedo and irony‖
(Lewis 460). Hitchcock exerted strong control over his films and was always a
perfectionist that gave his films distinctive looks which made them easily
distinguishable. However, it is not only the craftsmanship and focus on detail that make
us remember Hitchcock more than thirty years after his death: ―It is because of his
sensitive understanding of the potential for film to say and show things that cannot
easily be done in other genres of art. From his earliest silent work, he saw film as a
medium for the imaginative expression of space and thought. This is his real
(Lewis 458).
life and mainly his films is provided in order to establish picture of his repertoire and to
facilitate orientation in number of films that shall be used in the thesis as example cases
director whose influence reached beyond the sphere of movie industry. In the peak of
his career, Hitchcock was a well established cultural icon that was willing to accept such
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position and exploit its potential.
Films focuses on Hitchcock´s distinctive style and examines his production from the
perspective of auteur theory, a look at Hitchcock´s films through the lens of post
structuralism and cine-analysis is also provided. Finally, this chapter also focuses on the
unifying elements that can be explored in Hitchcock´s films and it gives examples of
Chapter Suspense and its four sub chapters analyze suspense in general, what it
is, how it is created and most importantly how Hitchcock employed suspense in his
films with the focus being primarily on spatial setting, morality and sexuality. The thesis
observations and quotes from various academic scholars are used to support author´s
arguments.
In Conclusion the findings from the thesis are summarized to provide a final
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2. Hitchcock Biography
to a family of William, a greengrocer and poulterer, and Emma Jane. Hitchcock family
was Catholic which placed them outside of the majority of England´s Protestant
religion. Alfred was the second son and the youngest of three children. When he was 11
he was sent to Salesian College and the Jesuit Classic School St. Ignatius College in
London. He recalled the years spent at this school as being very important for the
formation of his personality: ―It was probably during this period with the Jesuits that a
strong sense of fear developed-moral fear of being involved in anything evil. I always
tried to avoid it. Why? Perhaps out of physical fear. I was terrified of physical
punishment‖ (Truffaut, Hitchcock 26). After he finished the studies at St. Ignatius
College at the age of fifteen, Hitchcock begun to work at Henley Telegraph Company
where he was employed as a draftsman and advertising designer. At the same time he
was taking courses at the University of London where he studied art. Hitchcock was
interested in film already at this time and he read movie journals from the age of
sixteen. During his time at Henley Hitchcock started to express his creativity by
regularly submitting short articles for in-house publication which had been established
at the company. Hitchcock soon became one of the most prolific contributors and his
first ever short story called Gas from 1919 already revealed what themes and topics
were close to Hitchcock – the story is about a young woman who thinks she was
assaulted only to be revealed that it was a hallucination. It was in 1920 when Hitchcock
applied for job at title department at London branch of Paramount's Famous Players
Famous Players Lasky in England created a lot of excitement and expectation as the
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American company was expected to bring the know how to British film industry which
(McGilligan 100)
Hitchcock got the job and he soon became head of the title department and it was
through this work that Hitchcock got close to film making when the industry was still
making its small steps to become a mainstream media and during times when it had to
recover after devastating world war which crippled its output and this recovery would
take another ten years. ―In those days it was possible to completely alter the meaning of
a script through the use of narrative titles and spoken titles. Since the actor pretended to
speak and the dialogue appeared on the screen right afterward, they could put whatever
words they liked in his mouth‖ (Truffaut, Hitchcock 27). Hitchcock met several
after he became assistant and art director at Islington Studios. It took Hitchcock fife
years from his starting point as a draftsman to become a film director. The move to
Islington was important for Hitchcock not only from the perspective of his professional
life but also personal life because it was at Islington where he met his wife and
collaborator Alma Reville. In 1922 Hitchcock had the first opportunity to shoot his very
first picture which was named Number Thirteen. However, Hitchcock´s first projects
were plagued by production problems and simply bad luck and his first movie was no
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different. Number Thirteen was canceled after only few shots had been made and the
film would never be finished. Ironically, Always Tell Your Wife which Hitchcock
directed a year later faced the same fate, it was never finished and only two reels are
known to survive. The first movie that Hitchcock finished was The Pleasure Garden
which was, however, a flop. The film was shot in Germany where Hitchcock had spent
time before which was important for him as he ―he had immersed himself in
expressionism (in Germany)‖ (McGilligan 172). The true breakthrough came in 1926
when The Lodger: A Story of the London fog was released. This is considered to be the
first true ―Hitchcock film‖ with themes and motives that would run through many films
during his entire career. The film features a man on the run who is hunted down by
mainstream society. ―The Lodger was also a novel Hitchcock professed to love. The
story of a psycho killer stalking London, it was the kind of material that struck a deep
chord with him. And though in his later work he would often drastically change the
novels he filmed, revising their stories to meet his own needs, in this first important
instance he tried to be faithful‖ (McGilligan 177). After the commercial success of The
Lodger Hitchcock was becoming a popular figure and it was at this time that he got
married with Alma Reville, a woman who accompanied Hitchcock in his professional
Hitchcock started to work on his next films Downhill and The Ring, which is the
only film with Hitchcock´s original screenplay, followed by Farmer´s Wife, Easy Virtue
and Champagne in 1928 which Hitchcock considered as ―probably the lowest ebb in my
output(...)What happened, I think, is that someone said, "Let's do a picture with the title
Champagne"” (Truffaut, Hitchcock 57). The next stage of Hitchcock´s career begun
after he finished filming The Manxman in 1929. His tenth feature was intended as
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another silent film but British International Pictures studio eventually decided that the
film would be a converted to sound during the production. The Blackmail became the
first Hitchcock´s sound film in 1929. The reception was very good and the film received
positive reviews: ―The Daily Mail said the new Hitchcock film was ―the best talking
silent movies remained a very strong presence in the next sound stage of Hitchcock´s
career, in fact it remained important until the end of his career. In his interviews with
Truffaut, he expressed regrets about the arrival of sound since he believed the
The manifestation of silent movie techniques is evidently present in sound films such as
in The Man Who Knew Too Much and most notably in Psycho which are characterized
by sparse dialogue and long stretches where the narration proceeds purely through
visual images. In The Man Who Knew Too Much, the sequence when Dr. McKenna and
his wife try to prevent assassination attempt lasts 10 minutes without dialogue. The two
protagonists are actually speaking but we cannot hear them, we can only assume what
they are saying as in a silent movie. This scene illustrates Hitchcock´s philosophy which
was shaped in the era of silent films: ―When we tell a story in cinema, we should resort
to dialogue only when it’s impossible to do otherwise. I always try first to tell a story in
the cinematic way, through a succession of shots and a bit of film in between‖ (Truffaut,
Hitchcock 97). In Psycho, there is a similar sequence with a complete lack of dialogue
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for more than 17 minutes when Norman Bates disposes of evidence of his murder of
Marion Crane. ―Because he elects to manage without dialogue, Hitchcock has to rely on
cinematic techniques to advance the story and hold our attention‖ (Fordham). At this
time of Hitchcock´s career, there was no doubt that the young director would become a
major star, at least in the environment of the British cinema. 8 films followed after The
Blackmail before Hitchcock finished one of his most acknowledged films of the British
part of his career. In 1935 he released The Man Who Knew Too Much which he later
remade in 1956 when he was already making films in the United States, it was the only
film Hitchcock ever remade. The 39 Steps followed shortly after The Man Who Know
Too Much and if the previous film was one of the highlights of Hitchcock´s British
repertoire, then The 39 Steps may be considered as the number one. This was also one of
the first films where Hitchcock introduced MacGuffin, a plot device used to fuel the
narrative without having clear defined explanation of its occurrence in the plot. ―When
The 39 Steps was released, audiences flocked to see the new Hitchcock film. Critics
hailed it—first in England, then in America as Hitchcock’s best, most entertaining film
to date‖ (McGilligan 380). Hitchcock´s next major success came in 1938 with the film
The Lady Vanishes which once again cemented Hitchcock´s position among the top
British filmmakers and more importantly, at least from the perspective of the second
exponentially and he was drawn to start filming oversees. ―Three unique and valuable
institutions the British have that we in America have not. Magna Carta, the Tower
Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world‖
(Leff 16). The Lady Vanishes was a comic thriller and it was a commercial success
which gave Hitchcock confidence after three rather disappointing box office
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performances of Secret Agent, Sabotage and Young and Innocent. The quality and
commercial reception of The Lady Vanishes also ―confirmed the opinion of American
producer David O. Selznick that Hitchcock indeed had a future in making films in
Hollywood‖ (Spoto 71). Ironically, Hitchcock´s last film that was made in the Great
Britain, Jamaica Inn, was a failure and even the director himself considered the film to
America had become irresistible. Hitchcock often said that London’s gloomy weather
was his signal motivation. ―The sky was always gray, the rain was gray, the mud was
gray, and I was gray‖‖ (McGilligan 428). While the physical environment of England
may have really been a contributing factor in Hitchcock´s decision to move to United
States, the most important factor was simply the difference between British and
American cinema.
British movies could not stand against their American counterparts and
Hollywood had always been at least a step ahead of the rest of the world, including, of
course, the Great Britain. ―I wasn't in the least interested in Hollywood as a place. The
only thing I cared about was to get into a studio to work. I did regard their movie-
making as truly professional and very much in advance of that of the other countries‖
(Truffaut, Hitchcock 125). Hitchcock´s American journey started very impressively with
Rebecca in 1940 and the director soon realized the big step he had made: ―Hitchcock
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was quickly impressed with the superior resources of the American studios compared
with the financial limits he had often faced in England‖ (Leff 30). Hitchcock´s debut
was a success but the relationship with his producer deteriorated as David Selznick
imposed restrictive rules on his director. Hitchcock made further 13 movies during the
era of 1940´s which means that this decade was the most productive period of
Hitchcock´s entire career with Spellbound and Rope, Hitchcock´s first color film,
usually being labeled as the most significant. Hitchcock´s films made in 1940´s had a
large variety, ranging from romantic comedies and courtroom dramas to film noir. Films
from this decade established Hitchcock as one of the most sought after directors in the
United States but the peak of his production was about to come and climax in the next
thirteen years when the director made the most celebrated films of his repertoire.
However, the highly successful decade of 1950´s did not start very well as Stage Fright
was a clear failure. But Hitchcock´s position was firmly reestablished by his next major
movie Strangers on a Train from 1951 which was based on novel of the same name
which the director personally picked. The movie was a success despite the fact that it
received mixed reviews at first and Hitchcock himself was not particularly pleased with
the final outcome: ―As I see it, the flaws of Strangers on a Train were the
ineffectiveness of the two main actors and the weakness of the final script. If the writing
of the dialogue had been better, we'd have had stronger characterizations‖ (Truffaut,
Hitchcock 198). Strangers on a Train was followed by three popular films, I Confess,
Dial M for Murder and most notably Rear Window from 1954 which is widely
considered as one of Hitchcock´s greatest films. ―It was a possibility of doing a purely
cinematic film, you have an immobilized man looking out. That's one part of the film,
The second part shows what he sees and the third part shows how he reacts. This is
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actually the purest expression of a cinematic idea‖ (Truffaut, Hitchcock 214). Rear
Window was followed by To Catch a Thief, The Trouble with Harry and Hitchcock´s
only remake of his own film The Man Who Knew Too Much. Vertigo which was released
in 1958 received negative reviews and had poor box office receipts upon release but it
would eventually become one of Hitchcock´s classics. The film also marked the end of
the director´s collaboration with James Stewart who was one of his leading male actors
together with Cary Grant. Hitchcock himself liked the film and considered it to be a film
he was content with: ―The whole erotic aspect of the picture is fascinating. I was
intrigued by the hero's attempts to re-create the image of a dead woman through another
one who's alive.‖ (Truffaut, Hitchcock 243) Over the years Vertigo has established its
position amongst the world´s best reviewed films. But Hitchcock did not slow down
after disappointing receipt of Vertigo and a year later North by Northwest was released.
―North by Northwest is the picture that epitomizes the whole of Hitchcock´s work in
America. It's always difficult to sum up all the ups and downs in stories in a few words,
but this one is almost impossible.‖ (Truffaut, Hitchcock 249) The film was very
successful right from the beginning, it received positive reception both from critics and
general audience and when Psycho aired in movie theatres a year later, Hitchcock´s
popularity reached the highest levels. It is no coincidence that the period between 1953-
1960 is widely considered as the peak of Hitchcock´s professional life. Psycho contains
possibly the most famous scene of all Hitchcock´s films and perhaps one of the most
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horror movie genre and have been copied by many authors of
Psycho was the most profitable film of Hitchcock´s career and at the time it was
the most profitable black and white sound film ever made. But Psycho not only marked
the high point of Hitchcock´s career, at least popularity and money wise, but it also
signaled the approaching end of his career as none of the subsequent films released
matched the public reception and the quality of Hitchcock´s features from the decade of
1950´s. Birds, which was shot in 1962 and released a year later, was based on a short
disappointment mainly from commercial perspective, Hitchcock used the last ―icy
blonde‖ of his career, Tippi Hedren, who is known to have had a very distinctive and
rather unpleasant experience working with Hitchcock who supposedly destroyed her
professional life. The last 15 years of Hitchcock´s career were limited by the director´s
deteriorating health and it was clear that the director was in decline. This fact was
reflected in the quality and reception of Hitchcock´ final movies. Torn Curtain and
Topaz were not received positively by audiences. The penultimate film of Hitchcock´s
production, Frenzy, marked a comeback to the Great Britain but it would not change the
inevitable direction of the director´s professional life. His last finished project, Family
Plot from 1976, was considered mediocre and performed poorly at box office.
Hitchcock´s health further deteriorated after shooting Family Plot and the director spent
the final years of his life in the privacy of his home in Bel Air, California, where he died
on 29 April 1980.
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3. Cultural importance of Alfred Hitchcock
During interwar and post World War II period a change in significance of movies
occurred. Films became more than a mere entertainment, they became a medium to
spread audiovisual information, signs and ideas which resulted in a certain shift of the
way movies were understood. From being a pure experimental form of entertainment at
the very beginning to objects with aesthetic value, films post 1960´s became subjects of
various social studies. Film theorists became more and more obsessed with the social
value of the cinema which had its impact on the way films influenced society. As
Christian Metz argues that films are means of identification for the spectators, the
cinema´s signifier is perceptual (visual and auditory) – more perceptual than many other
means of expression (42). Movies have become a major part in our social lives and
famous actors and directors are not only movie stars but they often become popular
social icons and Alfred Hitchcock is an example. His films are continuously being
analyzed and interpreted by general public, film enthusiasts and professional film critics
but they have also become objects of popular culture. Hitchcock was one of the first
major directors and perhaps the most successful director to exploit the seemingly
infinite potential of television and advertising. As cinema evolved, so did the medium of
television and Hitchcock was fully aware of this fact. When it comes to public image,
propagation of name and exploitation of publicity, Hitchcock was one of the most self
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publicizing directors in movie history. ―When Alfred Hitchcock came to America from
the British film industry in 1940, he arrived lured by the promise of two things all film
makers desire: creative autonomy and money. He would eventually acquire both‖ (King
56). Hitchcock carried over his meticulous and perfectionist approach from film making
(Encyclopedia 7). Between the years 1955 and 1965 Hitchcock was involved in famous
television series Alfred Hitchcock Presents where he was the host and producer. This
series became very popular and was very important for establishing Hitchcock´s name
further beyond the domain of cinema. Hitchcock was almost a synonym for the genre of
suspense thrillers and he was very famous at the time and his strategy to spread his
influence beyond cinema paid off as he became a popular celebrity and an American
person of American culture. This was a significant success as he was able to increase the
public awareness of his persona even further and, of course, there were significant
monetary gains connected with his celebrity status. ―He created a contrived public
image that exaggerated his Englishness, his appetites, and his macabre humor. He
marketed his films in a manner that was at times sensational, at other times ridiculous.
In creating this public persona, Hitchcock was quickly tagged as the Master of
Suspense, and his films did well at the box office‖ (King 56).
professionalism. On television screen he became famous for his cynical remarks, black
humor and a very distinctive appearance which was very often a target for parody. But
Hitchcock was able to make use of his image from of both these worlds, the more
serious version of himself which movie spectators knew from cinema and his more
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relaxed version that people knew from his television appearances. The director always
tried to showcase his distinctive style so that the viewers knew what they can expect and
he carried the same approach from cinema to television. The title picture of the Alfred
Hitchcock Presents series featured a very simple caricature of Hitchcock which the
director created himself and each episode was always opened by an ironic and cynical
remark. This helped Hitchcock to create a distinctive style for his television
appearances, thus something similar that people knew from his films.
presence of his persona in popular book series Alfred Hitchcock and the Three
Hitchcock Presents, ―in The Three Investigators Hitchcock always introduced the
detective story‖ (Leitch, Encyclopedia 54). Hitchcock was also approached to introduce
a series of books that carried his name. It was a series of short stories which were very
popular at that time and they mainly focused on thriller and suspense stories, to name a
few: Alfred Hitchcock´s Anthology, Alfred Hitchcock Presents: Stories to be Read with
the Door Locked, Alfred Hitchcock´s Monster Museum. However, Hitchcock had almost
nothing to do with the mentioned titles. ―He did not participate in the process of writing,
selection or editing of the stories. Hitchcock solely lent his name to the project and
generated income from selling of the books‖ (Leitch, Encyclopedia 58). This is another
the domain of cinema. Hitchcock was very aware of such position and he tried to use its
potential to full extent. References to Hitchcock films can be found almost everywhere
References to the famous ―shower scene‖ have been used many times. Psycho does not
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only rank amongst the best films of all time but it also belongs to a group of films that
are the most important from the perspective of film making and popular culture as well.
The film set a new level of acceptability for violence, deviant behavior and sexuality in
American films which subsequently brought the same topics to a wide public
discussion. ―Psycho has become one of the most recognizable films in cinema history,
and is arguably Hitchcock´s best known film‖ (Silet). Psycho created a lot of
controversy due to the severe violence and nudity which appeared in the film.
―Internationally, Hitchcock was forced to make minor changes to the film, mostly to the
shower scene. In Britain and New Zealand the shot of Norman washing blood from his
hands was objected to and in Singapore, though the shower scene was left untouched,
the murder of Arbogast and a shot of Mother's corpse were removed‖ (Leigh 105).
Hitchcock saw the potential of fear and anxiety that the novel offered and was willing to
utilize such approach in his film adaptation. However there seemed to be a price for his
commercial success. The price Hitchcock seemed to pay were very critical reviews of
his films. American and especially European critics reviewed Hitchcock´s movies very
harshly, belittling their artistic value and attacking his status among proponents of
auteur theory:
American critics about value of Hitchcock´s films: ―In the course of an interview during
commenting, "You love Rear Window because, as a stranger to New York, you know
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nothing about Greenwich Village." To this absurd statement, I replied, "Rear Window is
not about Greenwich Village, it is a film about cinema, and I do know cinema‖
(Hitchcock 11). The under appreciation by American film critics points out at difference
particular England. It is widely believed that Hitchcock reached the peak of his career in
United States and his production in the Great Britain tends to be overlooked at times.
career have the feeling that it was only after his arrival in the United
Hitchcock himself acknowledged that his career was divided into two parts not only
from geographical perspective but the two parts were also very distinctive and his work
in those two stages of his career had different attributes. ―For want of a better term, we
might label the initial phase the period of the sensation of cinema, and the second phase,
the period when the ideas were fertilized‖ (Truffaut, Hitchcock 123). In their very
extensive interview from 1962, Hitchcock and Truffaut tried to characterize British and
American cinema and also how it was influenced and shaped by societies of these two
English culture and film making which may explain why Hitchcock desired to shoot
films in America rather than in Europe. This may also be the reason why Hitchcock
seemed to reach the true peak of his creativity and success in United States.
This may sound farfetched, but I get the feeling that there are
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national characteristics, among them, the English countryside,
the subdued way of life, the stolid routine that are antidramatic
―Considering the high intellectual level in England, and in the light of the universal
stature of her great writers and poets, the only two British film makers whose works
have actually survived the test of time and space are Charlie Chaplin and Alfred
Hitchcock‖ (Hitchcock 123). Truffaut further argues that film making was often looked
down upon by intellectuals and social elite in the Great Britain. One of important factors
in England has always been the division of classes and the awareness of belonging to
such a class. And the members of high class in England could only very rarely be seen
going to a cinema to watch a movie. ―No well-bred English person would be seen going
into a cinema; it simply wasn't done‖ (Hitchcock 124). This situation changed when
Paramount opened a branch in London and few upper class businessmen began to go to
movie theatres which encouraged more people to start appreciating British film making.
The development was a very important topic for British movie industry because the
standard of its production was rather low. It was around 1925-26 when certain young
university students, mostly from Cambridge, began to take an interest in cinema and out
of this was born the London Film Society. ―Their enthusiasm, somehow, didn't project
them into the creative end, but they were film fans, particularly in respect to foreign
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films‖ (Truffaut, Hitchcock 124). Hitchcock described general attitude to film making in
England as insular. He claimed that there was much wider and more universal concept
of life outside of Great Britain and that British humor was very superficial and rather
limited. For example Psycho was exposed to significant amount of criticism on British
Isles due to the violation that was exploited in the film. ―There was hardly a critic who
had any sense of humor about the picture‖ (Truffaut, Hitchcock 124). Hitchcock never
denied that American cinema as well as culture had always been closer to him and that
cinema and culture, he also encountered problems with reception of his films in United
States. The general public very much adored him and he made full use of this
commercial potential but film critics often gave negative reviews to Hitchcock´s films.
―Americans (In 1960´s) are surprised that European cinephiles and the French in
particular regard Alfred Hitchcock as a film author, in the sense that the term is applied
Hitchcock 18). In particular prior to the end of the 1960´s film critics did not take
whose films were excellent from the perspective of craftsmanship and overall attention
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to detail but they were criticized for lack of true substance and because form seemed to
be superior to content. ―Audiences might not have understood, for example, that Rear
Window was not so much about a peeping Tom as it was about their own secret guilt;
they did not see North by Northwest or The Birds as studies of their own anxieties; they
did not view Vertigo as a metaphor for the romantic fallacy, the agony of artistic
creation, or the fear of alienation‖ (King 56). Hitchcock himself almost seemed to
support his American critics who criticized the supposed lack of true content in the films
of the director: ―I'm not interested in content. It's the same as a painter not worrying
about the apples he's painting. It's his style, that's where the emotion comes from‖
(Schickel 74). According to Hitchcock it was not acting that was the basis of films but
rather: ―Photography, editing, all the technical ingredients that make the audience
scream‖ (Schickel 75). This disregard of artistic value in Hitchcock´s films by American
film critics is in stark contrast to European critics who praised Hitchcock for being a
director that highlights the idea of a true auteur who is in complete creative control of
his films, someone who creates lasting artistic value in his work. In fact, the entire
situation with Hitchcock and his appreciation and reception seemed to be completely
reversed in America. In Europe Hitchcock was largely praised by film critics who
appreciated his distinctive style and his creativity which emphasized the approach of a
director who truly is a creative force behind his films. However, the general public
audience was very often more conservative when it came to acceptance of Hitchcock´s
films and especially violence in his films was taken as a very controversial topic. On the
other hand, in United States, the situation was the opposite. American critics often
ridiculed Hitchcock´s film output as works of pure mainstream that offer little true
artistic value and meaning which is also reflected by the fact that Hitchcock never
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received an Oscar in the category for best director. In 1940, Rebecca won him Oscar for
best picture but Hitchcock himself never won an Academy Award. However, his
position at general American public was completely different. ―He first developed an
appreciation for the tastes and personality of the American film audience. Following his
deepened awareness of this democratic audience, moviegoers who went to see what
they wanted to see, and saw what their tastes had dictated to the studios, Hitchcock
tailored his working methods to address the people in America‖ (King 56).
Americans recognized the British director as on one of the very best and his
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4. Hitchcock and Auteur Theory, Unifying Elements in Hitchcock´s Films
When Francois Truffaut introduced the phrase la politique des Auteurs in his
1954 essay Une Certaine Tendance du Cinéma Français (A Certain Tendency in French
Cinema) he controversially proclaimed that even the best movie by Jean Delannoy
would always be less interesting and would carry less artistic value than the worst film
from the production of Jean Rennoir (―Certain Tendency‖ 227). Truffaut´s problem with
films from Jean Dealannoy was the way how Truffaut, who subsequently influenced a
large number of directors and film critics by his theory, approached film making.
Truffaut was a representative of French New Wave cinema which was one of many film
films. Truffaut and other cinema enthusiasts who circled around Cahiers du Cinema
coined the Auteur Theory (however the theory would receive its official name some
time later from Andrew Sarris) which argued that film mirrors the director´s personal
today:
The auteur theory was exposed to a significant amount of criticism in the later
years as its critics dismissed its main ideas due to the fact that modern film making
cannot truly have one auteur, it is always a result of the work of an entire team but
26
framework within which to categorize the previously undifferentiated masses of
Hollywood production‖ (Maltby 501). The director´s personal style should push through
the layers of industrial processes which movies at the time had already become and be
able to assert control over the film and not merely follow the script and thus just
transform the written script into an audiovisual form. Akira Kurosawa, Satyajit Ray,
Alfred Hitchcock, Howard Hawks or Jean Renoir are all highly successful directors but
their significance lies not only in the success of their films. For the supporters of the
Auteur theory it lies mainly in the fact that these directors are famous for being the
―complete and absolute auteurs of their movies‖ (Wollen 81). The idea was to approach
director as any other kind of artist, such as painter, who adds his own personality to his
work and directors should be encouraged to do the same and express their creative
abilities. This involves a conscious decision to value and look at films in a certain way.
One might see it as the policy of treating any director that uses a personal style or a
27
The targets of criticism of Cahiers du Cinema were in particular big production
films. The Tradition of Quality refers to films that lack originality, films that are rather
scenarist movies and directors add no artistic value to them. This results in films that are
routine, mundane and boring. According to Truffaut, this means that the director is only
a ―metteur en scene, a stager‖ (―Certain Tendency‖ 236). This tradition suggests that the
screenwriter hands the script to the director and the director simply adds the performers
and pictures. Truffaut provocatively said: ―There are no good and bad movies, only
good and bad directors‖ (―Certain Tendency‖ 237). Therefore it is obvious why Francois
Truffaut and the entire Cahiers du Cinema movement appreciated directors with
distinctive visual style such as Alfred Hitchcock who is known to being a big influence
on Truffaut and the entire movement. Hitchcock was a true auteur, throughout his career
he cooperated with the same team of people very often and his films and his entire style
were always very distinctive. Hitchcock always seemed to be in complete control of his
films and he always had a clear vision of what the final product should look like. The
fact that Hitchcock was willing to give the same actors roles in multiple films created a
unique consistency in his works which was something that was missing from a lot of
other filmmakers´ productions. James Stewart, Cary Grant, Grace Kelly, Ingrid
Bergman are few of famous actors that cooperated with Hitchcock for as long as
multiple decades but it were not only actors that helped to carry Hitchcock´s signature
movies and Bernard Herrmann, American music composer is famous for working on
perhaps the most acclaimed films of the director´s career, Psycho, North by Northwest
and Vertigo. Hitchcock carried his team from studio to studio and thus kept the
consistency and style in his works for decades. ―If brash individualism and
28
obsessiveness are prerequisites of auteur status, than Hitchcock has a substantial claim‖
(Fordham). The ability to improvise and deliver a film which is truly a work of the
author and not merely follows pre-scripted plan is one of the most important features of
a creative director, the type of director who mostly relies on production rather than pre-
production as he has more instruments to change the film and shape it into the form he
likes. This is the type of director that auteur theorists look for. In this sense Hitchcock
movement.
Numerous film critics have established Hitchcock as a rather rigid director who
did not like to change his original ideas. It was probably the British director himself
who created this myth because he often said his films were story boarded which meant
that they were displayed in the form of pictures coordinated in sequences in order to
pre-visualize the film before the actual shooting (McGilligan 386). The reason why this
idea was and still is believed is because Hitchcock was an art designer before he became
film director, however to generally and rigidly accept it would mean to rob Hitchcock of
his ability to improvise and change the look and sometimes even content of his films on
the go. He was flexible and reactive enough to make significant alterations despite being
known for his meticulous preparation. From the perspective of Auteur Theory these
themes and cinematic techniques are a manifestation of Hitchcock´s unique style which
makes him an example of an auteur exerting complete control over his work of art.
meanings in author´s work. But with all the mentioned common elements in the films of
29
Alfred Hitchcock in mind, we must keep in mind that Alfred Hitchcock was first and
success. David Sterritt argues that Hitchcock was driven by a ―near compulsive desire
for financial security and career stability, and he was always happy to exploit his auteur
status as a marketing device (through his TV series no less than his movies)‖ (15) while
movies rather than the idea of auterism it is then possible to interpret Hitchcock´s films
and their recurring themes, plot motifs and stylistic traits as ―symptoms of deep-seated
for theorists of all persuasions‖ (Wood 210). Robin Wood argues that it is sexuality
rather than suspense which is the key to Hitchcock´s films and ―sexual relationships in
his work are inevitably based on power, the obsession with power and the dread of
impotence being as central to his method as to his thematic‖ (155). If we continue in the
poststructuralist approach we then discover the hidden meanings which go beyond the
30
director´s intended features of his films. With this approach the numerous layers of
themes and motifs in Hitchcock´s (and everyone else´s films) do not constitute the
author´s reflection of control over his work but they rather reflect unconscious decisions
by which the director unknowingly flags movies from his production. However,
according to Richard Maltby, to apply the poststructuralist approach to a film and it´s
made and variety of ―group characteristics of Hitchcock movies offer fertile grounds for
exploring all of these strands‖ (Maltby 502). Hitchcock´s films are suitable for and can
large number of Hitchcock´s films work and show directly their characters’
psychological problems, examples of such movies include Vertigo, Psycho and Marnie.
The presence of dream sequences and flashbacks feature can be found and explored in
Spellbound and a number of other films. Richard Maltby argues that ―Hitchcock’s
recurrent themes invite psychoanalytic examination‖ (502). Robin Wood is one of many
critics who discovers signs and clues of Hitchcock’s Catholic upbringing ―as
important protagonists with their mothers also seem to repeat in certain films, for
31
example in North by North West, Frenzy but most notably in Psycho. In North by
Northwest Roger Thornhill is ridiculed by his mother who does not believe his version
of story and throughout majority of the film she appears to be a negative character.
Bruno from Strangers on a Train hates his father and wants to murder him but his
mother is extremely important to him. The main protagonist in Birds struggles to get out
of influence of his mother and there is, of course, Norman Bates in Psycho and his
complicated relationship with his mother whom he murdered and developed a double
personality as a consequence. The mother-son relationships are also important from the
psychoanalysis. As Patrick McGilligan notes, ―the director was not unfamiliar with
Freud’s writings, having first browsed them in the 1920s’ and indeed was more than
Robin Wood frequently emphasizes the importance of struggle of power and strength
reflected in The 39 Steps and in Frenzy where the murderer is a misogynist, yet he
clearly loves his mother and is willing to protect her at all costs and idolizes her very
strongly. The struggle of power and strength is also heavily present and dominates in
Vertigo where Scottie desires to completely control and seize over Madeleine, and also
in Marnie where Mark rapes his new wife who is frigid as a result of a traumatic
Man Who Knew Too Much and Torn Curtain which are all movies that include
32
obsession with performance, the cinema itself, and the relationship between
performance and audience offers obvious attractions for those seeking to explore the
notion of the spectator‖ (Fordham). Rear Window has been frequently interpreted as ―an
allegory of the film-going experience, with Jefferies displaying the voyeuristic curiosity
that lies at the heart of spectating‖ (Sinyard 84). Leitch understands the relationship
between director and spectators as at the heart of Hitchcock films and he observes them
game‖ (Find the Director 18). Hitchcock´s techniques for building up suspense mean
that ―the audience often has to supply meaning (for example what is behind the door
Hitchcock is a spectator in his own movies. ―He dismissed his cameo roles as gags, but
they do exert an alienating effect, in the manner of a Brechtian narrator, making it clear
that the eyes of the father are always on his characters‖ (Steritt 14). Hitchcock made 53
major films throughout his career and made a cameo appearance in 41 of them. Whether
we look at the rather funny scene when Hitchcock cannot make it into the bus in North
by Northwest, his mere walk on pavement where he cannot even be recognized in Rope
or the scene where he is taking care of a small child in Torn Curtain, the director always
seemed to leave a personal mark on his movies. ―Hitchcock´s cameos are a well-known
feature of his work. They playfully draw attention to Hitchcock, the director, as a
presence behind the work, by inscribing that presence, not as a character in his films but
as the flesh-and-blood director himself who populates his own films as an extra‖ (Allen
46).
The themes of disguise, illusion and mistaken identity can be found in The 39
Steps as well as in The Secret Agent. In The 39 Steps and also in The Lady Vanishes
33
Hitchcock shows how he combines elements of romantic comedy and suspense thriller.
In the remake of The Man Who Knew Too Much, The 39 Steps and in North by North
West Hitchcock explores the ambiguity of guilt and innocence. ―But the common
characteristics extend beyond the thematic, and include those cinematic devices and
techniques deployed in many of his films and which constitute his cinematic signature‖
(Fordham). The recurring themes and images in Hitchcock films can also be identified
as examples of binary oppositions, in particular the notion of guilt and innocence can be
found in almost every single Hitchcock´s film, including the most notable cases - North
by Northwest and The Wrong Man. If we examine Vertigo and Psycho we shall find a
differentiate) between reality and illusion (appearance) and between suspicion and trust.
MacGuffins, famous icy blondes and Hitchcock´s signature cameos can perhaps be
labeled as the most common and well known to general public. ―We have a name in the
studio, and we call it the MacGuffin. It is the mechanical element that usually crops up
in any story. In crook stories it is almost always the necklace and in spy stories it is most
always the papers‖ (McGilligan 198). MacGuffin is a plot device frequently used by
Hitchcock to introduce motivation for the protagonist often with very little explanation
to why it is so important. Hitchcock was not the first director who utilized this technique
but it was he who greatly popularized both the term and the technique of usage. While
looking for unifying themes and features of Hitchcock films we should not forget about
the important presence of femme fatale, in particular the ―icy blonde― – beautiful,
seductive and cold woman who always plays a major role in the given story. Hitchcock
explained the use of blonde protagonists in criminal and suspense stories as ―They make
the best victims. They're like virgin snow that shows up the bloody footprints and also
34
we're after the drawing-room type, the real ladies, who become whores once they're in
the bedroom‖ (Allen 13). We can see that Hitchcock´s film contain a complex network
of themes that seem to rotate and reappear over and over again but simultaneously, they
and plot devices that are recycled and restructured to create a new framework for the
next movie which frequently shares the same foundations with the previous one. If we
look at North by Northwest for example, then we can discover the actions of loss, search
and recovery (Roger Thornhill basically loses his identity when he is mistaken for a non
existing secret agent, he then starts a search to clean his name and to recover his lost life
which he manages in the end). Lesley Brill comments on this structure in North by
Northwest and links it to other Hitchcock films: ―The deep structure of loss, search and
chiefly as dreadfully disappointed and mocked possibilities‖ (4). When we look closer
at other films from Hitchcock´s repertoire then we find that Lesley Brill´s observation
regarding the unifying chain in Hitchcock´s films is right. The Wrong Man, which once
again features a man who is mistaken for a criminal, also shares the deep structure of
loss, search and recovery. The framework is almost completely identical to that of North
35
by Northwest. But not only ―wrong man‖ movies share this structure, in Vertigo, Scotty,
the main protagonist, experiences the same journey. When the love of his life dies
does he know that the replacement is not really a replacement and that he was deceived
the plausibility of certain scenes in his movies. Throughout his career Hitchcock was
criticized for the lack of plausibility in a number of his films. In North by Northwest, for
example, the viewer of the film has the right to ask the question: ―Why does the plane
crash into the gasoline truck? Why did the killers use gun after first failed attempt to
assassinate Thornhill? And why did they use the plane at all?‖ Lesley Brill offers
explanation: ―One can answer such questions by pointing out that they are largely
irrelevant. Phrased as logical questions, they have little to do with the sort of film North
by Northwest is and trying to explain them away obscures more than it clarifies.‖ (12)
The correct question rather seems to be why questions like those mentioned above do
fail to lead to relevant answers and why they actually miss the point. Answer to these
questions can then provide us with valuable information regarding Hitchcock´s films.
career. (Brill 4)
Hitchcock´s films despite the apparent disruption of realism that is evidently present in
36
them because even though the description of lack of realistic credibility is accurate and
correct ―the complaint is unjust‖ (Brill 4). We should rather understand this as an
amounts of irony but romance is actually one of strong and ever present unifying
environment the nature of particular laws, their causes and consequences does not bear
significant importance and the occasional twist in realism and plausibility thus
necessarily occur:
romance and abide by the rules established by him we will realize and understand that
such way of portrayal of certain events in Hitchcock´s films goes hand in hand with the
such works are far from delivering it, the key to the story is the romantic element. We
do not mind when the Green Knight picks up his decapitated head, walks away and
awaits Gawain to deliver him the fatal blow in Sir Gawain and the Green Knight and we
do not mind that count Dracula is a vampire – nocturnal creature that feeds on human
blood. These unrealistic elements do not damage the essence of the romantic message, it
is the opposite – these elements help to build the sense of romanticism in a work of
37
literature or a movie. ―Folk tales swarm with talking plants and animals(...) brave
heroes, evil magicians and wicked stepmothers(...) the plot of romance leads to
adventure‖ (Brill 6). Of course, Hitchcock´s films do not contain such ―extreme‖
elements and they are far more realistic, nevertheless the world of Alfred Hitchcock is
romantic.
38
5. Suspense
5. 1 Suspense
It can be argued that utilization of suspense is the single most connecting element in the
difference in knowledge between the audience and the characters on the screen‖ (Allen
32). Hoffman and Fahr define suspense as: ―Suspense can be conceptualized as an
enjoyable experience between hope and fear that relies on certain cognitive mechanisms
and often goes along with autonomic, physiological arousal‖ (2). It often revolves
around subjects such as: will the hero reach the right place and save the heroine before it
is too late? Will the bomb expert defuse the in time? Will the detective see the murderer
lurking in the alley? Suspense can be understood and defined as an intense feeling that
spectators experience during waiting for outcome of certain events. The most common
source of suspense in movies is the genre of thrillers and horrors which naturally rely on
intensive anxious feelings in order to maximally exploit their potential. The history of
associated with suspense. History of thrillers dates back to 1920´s and 1930´s, thus all
the way back to the era of silent films. One of the first important thrillers that shaped
this genre for more than a decade was Hitchcock´s first successful thriller film The
Lodger in 1926. If we look closer at the stage where suspense films originated from,
then the most common denominator is Alfred Hitchcock who truly was at the very
beginnings of the entire genre along with Fritz Lang, an Austrian filmmaker, whose
movie Spies is also considered as one of the first suspense movies. British directors such
as Walter Forde or George A. Cooper were also one of the first major directors who
developed the genre of thrillers in its first stages. The early stages of thrillers evolution
39
clearly became an English matter during the decade of 1930´s when a large number of
suspense films were released, in particular by Hitchcock, who would continue this trend
also in the next decade and many years further. However, suspense is by no means
limited to thrillers and horrors and it can be found and employed in any given film if
there is an opportunity to exploit dramatic tensions. In his work Theorizing the Movie
Image, Noel Carroll explains that ―races, chases, rescues and escapes are staples of the
genre‖ (102) and David Howard claims that suspense can literally be employed and
The basis of suspense seemingly always revolves around the fact that the film
audience is constantly anticipating what may happen next in a given narrative situation
and by this anticipation the spectators can be manipulated in such a way to generate
suspense. ―We do not know what will happen but we do know might happen and
therefore feel tension about those possibilities‖ (Howard 52). When audience is
repeatedly reminded of the possibility that a certain event may occur, this fact allows to
build suspense and also, importantly, to maintain the tension throughout the narrative in
such a way that the identification of the audience with a relevant story does not
decrease. ―If we are not being allowed to care, then the storyteller has not informed us
what may or not may happen in the near future of the story. Both failures are deadly to
drama‖ (Howard 52). There is a number of ways how story teller (director) can align
40
audience with a film protagonist and allow him to identify with the character.
Identification and caring for a character does not necessarily mean that we have to
morally support the given protagonist. What is needed to generate suspense in such
situation is to eliminate any lack of interest in the outcome of a narrative situation from
the perspective of the audience. Once the connection between the spectator and any
protagonist, suspense can be generated as the spectator cares about narrative outcome of
the story. The protagonist may wish that a certain character lives or perhaps dies but the
particular desire and motivation is almost irrelevant as almost any type of character can
create a narrative situation that is exploitable from this perspective. Linda Cowgill
explains ―that creating a connection with audience can be done by introducing universal
emotions such as fear, love, hate, injustice or embarrassment‖ (61) while Ray Frensham
audience‖ (58). In order to bring the audience closer and connect it with the reality of a
narrative, film makers use various film techniques, in particular close up shots and point
of view shots which highlight and emphasize facial expressions and reactions of
protagonists. Thomas Sipos explains that close-ups can create suspense because they put
the characters closer to an imagined threat: ―Unseen and unknown threats lurk off-
screen, waiting to pounce upon the characters, and because they are close to the frame
line, they're close to any threats lurking off-screen‖ (87). Further techniques that help to
build up suspense in important scenes are cutaways, high camera angles which create a
sense of fragility and vulnerability of characters and vice versa low camera angles
which are frequently used to introduce movie villains in order to make them look big
and ominous. Editing, lighting and sounds are also important for the task to generate
41
and maintain suspense throughout narratives.
The previously mentioned narrative and shooting techniques that are defining
features of suspense have in common the fact that they were employed by Alfred
Hitchcock to a large degree and in fact it was Hitchcock that pioneered many of them,
nevertheless there are many other famous directors who implemented suspense in their
films. Roman Polanski, Dario Argento, Brian de Palma or a more recent representative
Manoj Shyamalan are also famous for making films that are able to create intensive
emotions. However, ―he (Hitchcock) had in the ―golden era‖ of his career (from the mid
1950´s to the late 1960´s) developed a template for implementing suspense that worked
so well that it is still revered as the best examples of the use of suspense‖ (Sinyard 147).
The director himself gave a description what suspense was and how he approached it:
explode under the table where they are sitting. This may create
Brill argues that ―Hitchcock´s suspense is one of the techniques appropriate to the
working out of many of the variations of his central story, but it is far from omnipresent
42
implementation of constant tension despite the fact that suspense is a motif that most
so widely the corpus of the director´s films then it is useful for obtaining general
understanding of the reoccurring principles that connect them but one should never take
can extract from them must arise from our own experience as their
contrast to Francois Truffaut who placed strong emphasis on the feature of suspense in
Hitchcock´s films. The scenes of suspense are ―privileged moments‖ (Hitchcock 15) and
Hitchcock wants ―each and every scene to be a privileged moment.‖ (Hitchcock 15)
This interpretation is very close to the observation of Richard Allen who claims that the
―idiom of suspense is the primary vehicle for Hitchcock´s romantic irony‖ (38). Despite
the frequent presence of suspense and seemingly opposing opinions on this matter by
style to understand suspense as the primary driving force behind his movies. Even
Truffaut later admits that ―suspense sequences are by no means the only cues to
unifying and identifying factors in the repertoire of the director. Hitchcock preferred the
use of suspense over surprise in his films as he believed that introduction of a surprise in
43
a narrative is never as effective as suspense created by a carefully structured scene. ―In
46). The used surprise can be effective and shock the audience but its effect cannot be
maintained on a long term basis because once a surprise is discovered it has only a very
limited ―life span‖ in the eyes of the film spectators. In Hitchcock the idea of suspense
stretches far beyond the typical description of suspense narrative and it can be seen as
the central mode through which the narration flows but at the same time suspense
should not be automatically equaled with the core of Hitchcock´s films. Hitchcock´s
utilization of suspense is unique in the way that it is used to create romantic irony but
the sheer nature of it remains the same, it still is ―a channeling of emotions so that one is
entirely taken up with what is going to happen next‖ (Allen 38). Employment of
suspense circles around working with narrative information and it´s control in such
manner that allows the author to manipulate audience into a position which allows
the director plays with narrative information, it creates emotional situations when the
the one that is desired‖ (Allen 38). However, the elements that precisely create suspense
are not always clear cut. While Hitchcock claimed that ―in the usual form of suspense it
is indispensable that the public be made perfectly aware of all of the facts involved,‖
(Truffaut, Hitchcock 72) other scholars argue that ―suspense relies upon the audience’s
strong sense of uncertainty about how events will play out,‖ (Knight, McKnight 108)
which emphasizes the fact that a part of narrative information must always be withheld
from the audience in order to intensify a given situation while the fact that the audience
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Suspense is composed of three things: ―fear, hope, and the cognitive state of
uncertainty‖ (Ortony, Clore, and Collins 131). Aaron Smutts defines fear as ―a feeling of
displeasure about the prospect of an undesirable event, and hope as a feeling of pleasure
about the prospect of a desirable event‖ (285). Spectators feel suspense when they are
feelings of suspense seems to rely on two features of an event’s outcome: its uncertainty
the role of uncertainty, then we run into a problem of ―paradox of suspense‖. ―If
uncertainty is integral to the creation of suspense, then how is it that some films can still
be suspenseful on repeated viewings?‖ (Smutts 282) It can be argued that human beings
are capable of experiencing suspense despite knowing the outcome beforehand because
―evolution has not equipped humans with the ability to recall known outcomes to
repeated events, since there are no exactly repeated events in nature‖ (Smutts 282). As a
result, people can feel suspense and fear even when they face the same source of these
feelings, in our case, a certain movie. The spectators can fear the outcome of a situation
despite the fact that they know it. When we watch Rear Window for the first time, we
fear that Lisa will get caught by Thorwald, the murderer, in his apartment. If we watch
the film for the second time, there will still be a significant amount of suspense
generated by this scene even though we know not only that Lisa will survive this scene
but the entire film will have a happy ending. Therefore the idea that suspense requires
uncertainty and lack of information is not profoundly correct as there are many
situations where suspense is created without uncertainty being present in the film. ―The
required, may be one reason why many people think suspense requires the same.
45
Surprise is clearly not involved in all or even most cases of suspense‖ (Smutts 284). If
we think about suspense in the classical sense then we will inevitably encounter the
allows us to not run into the paradox of suspense by focusing on the aspect of frustration
Exposure to Narrative Fiction, Hoffman and Fahr explore the reasons behind the fact
that even multiple exposures to the same source of suspense lead to similar effects.
Despite the fact that suspense or mystery movies heavily rely on their specific content to
generate the desire effect they should be (at least theoretically) not as suitable for
repeated exposure as other genres. However, a research by Hoffman and Fahr from
2006 showed that people opted to see films such as The Sixth Sense or Psycho more
often than other even though these particular films rely on their (surprise) point but this
fact does not prevent the audiences from re-watching them again and having the same or
narrative media not only because of the above mentioned reasons, but also because they
enjoy and therefore seek the re-experience per se‖ (Hoffman, and Fahr 8). Multiple
exposures to suspense and surprise allow the viewer to shift his attention and cognitive
46
functions ―to a movie’s aspects other than the course of events‖ (Hoffman and Fahr 13).
This results in a situation where the viewer can concentrate on dialogues, specific
scenes and meanings and overall content in the film which he may have missed on first
viewing. When watching a movie for the first time, viewers tend to just follow the
course of events, whereas during repeated exposure they concentrate on favorite details,
with many viewers being keen on discovering new things. These elements can
subsequently enable the film to generate suspense to almost identical degree as during
anticipation. As the viewer knows the outcome of a certain event in a particular film he
has already seen, the suspense in the film may now arise simply from the anticipation of
anticipation of such event, which may or may not come, leads to build up of suspense.
The audience knows that something is going to happen and mentally prepares for the
event.
Therefore the notion that lack of information and resulting uncertainty are the
core of suspense cannot be generally applied to each and every case and examples such
as Psycho or Rear Window demonstrate that certainty rather than uncertainty can
frequently make experience more suspenseful. ―The reason why the office scene in
Psycho can be more suspenseful on subsequent viewings is the fact that it is more
47
suspenseful because they know with certainty that Marion Crane will soon be murdered,
they do not want it to happen, and they cannot do anything about it‖ (Smutts 289). This
example shows us that it is not just the fact that we know more than the character that
generates tension and suspense but it is in particular the fact that we cannot provide help
literally worry about the possible undesired outcome of a specific situation and it is this
worry of a ―bad ending‖ that subsequently creates tension and suspense. This fact,
the idiom of the thriller into a playfully perverse challenge to, and
originating from uncertainty about what is going to happen next and how this fact will
affect the final outcome of the narrative situation factoring in also our inability to
change such outcome. In this sense we are speaking about the so called classical
suspense where ―the question what happens next? is dramatized through the
and hence wished for but unlikely, the other is undesirable hence feared but more
likely‖ (Carroll 101). However, Aaron Smuts argues that the superior position of
through which we can help a certain character that creates suspense: ―Merely knowing
more than a character does not create suspense, but when we know something that could
48
help a character that we care about stay alive, and we are unable to relay the
information, we feel suspense‖ (285). Ergo suspense is also a result of our inability to
act and actively participate in an event whose outcome can possibly be negative and
outcome and also course of a situation that creates suspense. ―Our inability to affect
narratives is often something we are aware of and something that masters of suspense
frequently exploit‖ (Smutts 285). Example of this hypothesis can be found in Rear
Window, where the most suspenseful situation is established by Hitchcock when Lisa
Fremont breaks into the apartment of the supposed killer, Lars Thorwald. The scene is
entirely taken from the perspective of L.B. Jefferies who is watching the whole scene
bound to his chair. He is absolutely powerless to help his lover escape from the
extremely dangerous situation. We do not see the situation from Lisa´s perspective,
rather than that, it is Jefferies who literally becomes the spectator with absolute
knowledge of the situation. He is placed in superior position to that of Lisa, the active
participator, having complete knowledge of the situation but just like the movie
audience he lacks crucial information – the outcome of the situation. With only
protagonist in a film but he also becomes a spectator that comes to watch a movie in a
cinema. This is an example of what Aaron Smuts means be frustration from the inability
satisfaction of our desire to warn any and every character. The most important reason
why these scenes are so suspenseful is that they are highly effective at frustrating the
audience’s ability to satisfy its desire to make manifest a particular outcome‖ (285).
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5. 2 Subjective Suspense and Exploitation of Spatial Setting
experience it through the mind or the eyes of one of the characters‖ (Allen 40). This
classical suspense:
The use of subjective camera which allows the audience to share something with the
observe a given situation through the eyes and from the perspective of affected
character. Susan Smith calls this employment of suspense as ―vicarious suspense‖ (57)
as the audience is forced to feel suspense in the place of the character. The feeling of
Marion Crane, Lila, goes to the house where the murderer lives and wants to speak with
an old woman, who at the time is suspected by the viewers to be the killer. Therefore
Lila is in significant danger and the audience fears for her life. ―We feel excruciating
tension and fear on behalf of the character as she approaches the mansion. Hitchcock´s
example of this technique is in Birds. Melanie Daniels, the main heroine, is sitting,
50
smoking and waiting for children, unaware of the fact that a large number of birds has
been gathering behind her. ―This classic rendition of vicarious suspense is accompanies
by a mesmerizing repetition of the children´s song that serves to mark out the passing of
time‖ (Allen 47). When Melanie discovers what has been happening behind her back
Hitchcock quickly cuts to her face to show her reaction and thus levels her knowledge
of a dangerous situation with the knowledge of the spectators. These techniques give the
spectators chance to identify with the character and get drawn into the scene which
subsequently strengthens and emphasizes the experience the spectators get from
watching the film. Hitchcock always tried to make the camera more than just a camera.
The spectator should never feel like watching a film but he should feel like actually
being in the frame while still feeling frustrating limitations imposed by methods that can
be executed to influence the narrative. This Hitchcock´s obsession with camera had
roots in the silent film era when the only storytelling tool of the directors was the
camera. Without sound, directors had to rely upon utilization of the correct camera
angles in order to convey the desired meaning and message of a particular scene. An
view shot sequence where the audience is presented with close up shots of the
The difference between the subjective and objective suspense seems to be the
distinction whether the suspense and tension is streamed through the eyes of a character
or not. But despite this explanation being logical and inherently right, it was not the idea
behind the employment of subjective suspense by Hitchcock. What the director rather
wanted was not to contrast the objective suspense by giving the spectator an alternative
by offering him the point of view of a character but presenting the audience with limited
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knowledge of the situation which subsequently results in ―making the audience suffer‖
(Allen 41). But the employment of this technique does not mean that Hitchcock
completely rejected the idea of using the objective suspense in his films.
195)
introduces another feature to allow the audience to identify with a certain character and
present in classical suspense, often by restricting us to the narrative point of in the view
of a single character under duress‖ (Allen 42). If we return to the scene in North by
Northwest when the crop dusting plane attacks Roger Thornhill on the seemingly
abandoned road in Illinois, the narrative is almost exclusively employed from the point
of view of Roger Thornhill, who fights for his life. ―In this kind of ―shared suspense‖
the character himself is placed in the position of experiencing anxiety and the audience
is aligned with him‖ (Allen 43). Hitchcock also uses establishing shots, or we can use
the upcoming scene. It is this combination of these big establishing shots and close ups
of Roger Thornhill that creates this famous scene where Thornhill fights for his life.
North by Northwest is therefore an ideal example of how Hitchcock did not only rely on
subjective suspense but rather combined these two techniques. First, the audience is
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presented with an overview of the scene which clearly shows that environment is rather
empty and plain which later serves for generating of helplessness and danger as
Thornhillt has almost nowhere to hide from the attacking crop dusting plane. By using
subjective camera Hitchcock then puts the spectators in Thornhill´s shoes as he tries to
outsmart his killers. This utilization of subjective suspense works very well in this
particular scene. What North by Northwest also shows is the way Hitchcock utilized
space in his movies. Hitchcock was extremely successful in exploiting the dramatic
most intense feelings of fear and danger when located in a tight spatial surrounding.
This can serve as an explanation to why Hitchcock set so many of the most important
scenes from his films to rather tight and small compartments such as passenger train car
in North by Northwest or the meeting scene between Guy and Bruno in Strangers on a
Train. Tight spatial settings were not only restricted to scenes but also to entire films. In
Lifeboat the story takes place on a lifeboat where a group of people await their fate on
an open ocean. In Rear Window, the main protagonist is confined to a chair for several
weeks because he broke his leg and is unable to walk. Almost the entire film is shot in
the protagonist´s apartment, an unusually small space given the fact that the film is
basically a detective romantic thriller. The idea is to limit the protagonist´s options to
escape from situations of danger. The technique is effective but also demanding to
properly execute as the setting quite often does not allow enough maneuverability for
the director.
allows for development of the story, it allows unfolding of the narrative. In fact, it is the
spatial setting that allows existence of Rear Window as the entire film and climax of
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major scenes depend on it. ―The spatial setting of the film creates anxieties regarding
privacy and surveillance which are mobilized by the design of the set‖ (Coon 60). The
underlying tension which runs throughout the film and the fear of getting caught while
spying combined with tight space where Jefferies finds himself in ―make him visually
vulnerable to the gazes of others, reminding the audience of the implications of privacy
invasion (Coon 60). The example of Rear Window shows us that the spatial boundaries
between private and public life are very thin and can lead to severe consequences.
Hitchcock uses this situation to generate suspense by putting the spectators into
Jefferies´ perspective which means that they never know more than him. Just like Jeff,
the spectators are restricted in their view and knowledge which intensifies suspense.
on screen and off screen space which demonstrates the withdrawal of information that
the audience, where Jefferies also belongs, has to experience. This technique intensifies
curiosity and generates suspense as we do not know what is happening off the screen
despite the fact that Jefferies´ binoculars may actually be literally only a few inches
away from important events. ―The situation turns suspenseful after Jeff suspects
Thorwald of killing his wife. During the time that Jeff is spying on him, Thorwald
occasionally chooses to pull his blinds, preventing Jeff from knowing the full story of
what’s going on inside Thorwald’s apartment‖ (Coon 62). The environment where
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Jefferies moves in Rear Window displays only such amount of information which
enables to make him as well as the film audience suspicious of a potential crime but at
the same time it conceals and withdraws important pieces of information that provide
answers to his questions regarding the potentially dangerous neighbor. The anxiety and
suspense gradually increase. ―Hitchcock never allows the camera to invade anyone’s
privacy any more than the onscreen characters are able to‖ (Coon 63). The suppression
of vital information through the use of space is most notably visible in the scene where
and she and Thorwald are both visible. ―Throughout the sequence, the design of the
space, coupled with the angle from which it is shot, conceals vital information (each
other’s location) from the main characters while revealing that same information to the
audience‖ (Coon 63). The design and structure of this scene shows characters in
proximity to each other even though they may actually be separated by a wall or door.
The characters are unaware that they are so close to a potential danger while the movie
spectators, and in this case also Jefferries, know it which increases the sense of danger
which only the audience understands. Another example of a situation when characters
lack information regarding a nearby approaching danger can be found at the end of the
film when Thorwald goes to Jefferies´ apartment in order to get rid of him. Jeff is
unaware that Thorwald is approaching his apartment and he is in lethal danger. The
audience is also unaware of this fact for a brief moment until Hitchcock uses sounds of
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of privacy are very weak. Both Jeff and the audience initially
Here the director introduces something which may be designated as spatial duality. At
the beginning of the film we see a skyline of Phoenix city, a place with a large
subsequently run away. Ironically, when Marion leaves the city to hide in an isolated
motel, it is a fatal decision as the isolated space which should have provided her
protection from police is more dangerous than Phoenix. Hitchcock establishes two
major locations in the first half of the film, each representing something different.
―Separation replaces concentration, distance supplants proximity, and the highway and
the automobile supersede the street and the pedestrian‖ (Dimendberg 177). The isolated
setting of the Bates motel introduces ―additional sources of tension,‖ (Coon 63) and
duality are the house where Bates´ mother (supposedly) lives and the motel itself. In
fact, the entire film is based on duality as we know that Norman Bates´ mind is
occupied by two distinctive personalities and this fact is reflected in the division
between the motel and the house. The motel represents Norman and the house is the
central space of his mother. Just like the main protagonists who are kept away from the
house by Bates, so are the spectators of the film kept away from the house by Hitchcock
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The house and the motel stand as two distinct spaces, defined by
Generation of suspense in Psycho comes from the duality of the house and the
motel when Hitchcock establishes boundaries whose crossing is potentially lethal. This
is demonstrated by the character of Arbogast who sneaks into the Bates residence and is
killed. By withholding vital information from the characters in the film as well as from
spectators, Hitchcock is able to exploit the spatial setting of the film to maintain
suspense throughout it. ―In addition to establishing an underlying sense of tension, the
maneuvers characters through the built spaces of the set‖ (Coon 65). The spatial setting
in Psycho is vitally important for creation of suspense similarly to Rear Window where
only the nature of the set allows to exploit its potential to the fullest.
However, Hitchcock did not limit his suspense scenes solely to tight rooms,
dangerous houses and compartments. In fact, probably one of the most famous scenes
where Hitchcock was able to put the protagonist of his film to a dangerous situation and
build suspense was in already mentioned North by Northwest where Roger Thornhill
fights a crop dusting plane whose pilot wants to kill him in one of the most unusual and
spectacular ways. This particular scene is far from being set in a tight space where the
protagonist has nowhere to go, it is exactly the opposite. Cary Grant, who plays Roger
Thrornhill, has acres of space to move to but despite this fact the scene works well. By
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using subjective camera view, Hitchcock is able to align the spectators with Roger
Thornhill, thus allowing viewers´ identification with the character and suspense can be
successfully created and maintained throughout the entire scene. Unlike in Rear
Window, the crop dusting scene in North by Northwest is very simple and easy to orient
nevertheless able to create suspense by closely following a character that fights for his
life.
narrative suppression rather than narrative omniscience‖ (Allen 45). But this kind of
interpretation was strictly denied by Hitchcock who claimed that ―mystery is seldom
does not only equal to whodunnit examples. In Vertigo, basically the entire narrative
protagonist. The mystery fuels a general uncertainty and possible danger that is present
in the film and it shows that mystery and surprise can actually co-exist very efficiently,
generating intense atmosphere. ―The mysterious situation is the one that does engender
concern about the future on the part of the audience in the form of the anxious
anticipation that characterizes suspense‖ (Allen 56). Gavin Elster´s plot to murder his
wife in Vertigo is withheld from both the spectators and Scottie, the main protagonist. In
this particular example, we share the mystery of alleged ghost possession of a young
lady. ―His and our preoccupation with understanding this mystery only serves to conceal
more completely the deeper secret that comes as a total surprise: the woman faked her
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possession‖ (Allen 47).
crucial information from the audience as well as movie characters, is almost ever
with the restricted viewpoint of a character who anxiously desires and fears the
resolution of a mystery‖ (Allen 54). During his documented interviews with Hitchcock,
Truffaut told the director that suspense in the form of Alfred Hitchcock involved the
Hitchcock 72). An example can be found in Psycho few moments before Marion Crane
is brutally stabbed to death by Norman Bates. Hitchcock sets the scene in such a way
that the spectator´s viewpoint is from behind the curtain and it is possible to see dark
figure sneaking in. The suspicion is that the figure is Norman Bates´ mother, however it
is impossible to be sure about the identity of the murderer. ―Our perception of this figure
gives us knowledge that is superior to the character, and thus we worry on her behalf,
but it does so only to alert us to a mystery‖ (Allen 71). This example demonstrates the
relationship between omniscience with limited knowledge of the film character. The
goal in this case is to put the spectator into a position where his knowledge of a situation
deliver a parcel to a destination point, the issue is that he is unaware that the parcel
contains a bomb which will explode at 1:45 pm. By using this clearly defined deadline
imminent danger. The effect of this scene is being strengthened by numerous delays
when he gets lost in crowded market place and he is even delayed by a street peddler.
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Hitchcock also periodically reminds the audience about the ticking bomb by close up
shots of the explosive device whose imminent explosion gets closer with every second
that passes. Stevie is still unaware of the deadly danger and the scene continues. The
time goes by and everyone, except for Stevie, awaits the explosion. Then, Hitchcock
rapidly cuts to 1:45, he shows three shots of the bomb in fast succession and then the
explosion.
films are exposed to two contrasting directions at one time. They have a lot of sympathy
for the protagonist, in the previous case for Stevie, and at the same time they ―are aware
of the hand of the director who relishes the orchestration of imminent catastrophe‖
(Allen 50). The entire scene is also exciting for audience not only due to suspenseful
situation but also due to its result, in Sabotage, Stevie, an innocent participator in the
grand scheme of the plot, is killed. First, the spectators emotionally identified with
Stevie only to be surprised by his death. This was something that violated the rules and
basic convention of the genre. ―The boy was involved in a situation that got him too
much sympathy from the audience, so that when the bomb exploded and he was killed
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5.3 Shared Suspense and Morality of Suspense
in a much superior knowledge position than the protagonist but Hitchcock also
employed the structure which may be labeled as shared suspense which is a situation
when both the protagonist and the spectator know about imminent danger. In The Man
Who Knew Too Much Jo Mckenna tries to save her kidnapped son. In this example the
this technique applied by Hitchcock in many of his movies can also be found in one of
his later films, Marnie. In the particular scene the main protagonist, Marnie, steals
money from her employer´s strongbox. While she is carrying the money out of the
office she must evade a cleaning lady. We are put into Marnie´s point of view as she
slowly sneaks past the unknowing cleaning lady but we also know something which
Marnie does not. One of her shoes, which she took off and put into her pocket in order
to prevent any sound, is about to fall from the pocket and thus compromise Marnie´s
escape. The shoe eventually falls off and makes a loud noise. However, the cleaning
lady does not notice anything. Hitchcock withheld an important piece of information
from Marnie and from the spectators as well: the cleaning lady is deaf. This particular
scene shows how shared suspense creates identification with a character and by the final
point, the cleaning lady´s deafness, the director shows that lack of single piece of
information can build, carry and maintain suspense throughout the entire scene.
Shared suspense is the driving force behind already mentioned Rear Window
which is shot in such a way that establishes shared suspense from the start until the end.
In the film, Hitchcock almost never gives spectators more information than what is at
disposal of the main protagonists. We only see what the protagonists can see and
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therefore we are not only invited to share the suspense with the characters, we are force
Hitchcock also uses the structure of shared suspense to create situation which
allows us not only to share suspense with hero but also with the villain, therefore a
situation which seemingly goes contrary to the desired narrative outcome. When
Norman Bates tries to dispose of the body of the murdered Marion Crane in Psycho, he
stops for a second before the car with the dead body finally sinks into the swamp. When
the car stops for a moment a situation of shared suspense with the villain is created by
Hitchcock. ―Through shared suspense we are invited to wish for the body of Marion
Crane, with whom we have strongly identified until her untimely death, to disappear for
good, although this wish runs utterly counter to the moral outcome of the story‖ (Allen
80). In this particular scene Hitchcock plays with the spectators by confusing them with
the true identity of the killer. He creates ―sympathy for the devil‖ by giving Norman
Bates rather sympathetic traits and characteristics which allow the spectators to identify
devil whose point of view we can then share, he creates sympathy for the
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Hitchcock claimed that suspense was not generally tied to moral. ―If audience
knew there is a bomb ticking under a conference table waiting to explode, while Hitler
was sitting at the table unaware, the audience would still feel suspense regardless of
how they felt about the character‖ (Truffaut, Hitchcock 73). Hitchcock´s films and
suspense situations in them seem to be examples of the fact that the spectators do not
and identify with him. In the previous examples such as in Rear Window, the spectator
could morally align with the main protagonist because the protagonist was in right and it
was morally correct to support him. But Hitchcock also forces the spectator to feel for
and support a character that should be viewed as the complete opposite. Therefore the
scene from Psycho demonstrates that moral outcomes of certain situation can be largely
irrelevant from the perspective of identification and feeling suspense together with a
responses may support or counteract but that is not reducible to them‖ (Allen 53). Our
ability to identify with a movie protagonist is not limited to ―good guys‖ and Hitchcock
cleverly exploits this because he is able to manipulate the audience into identification
with point of view of someone who objectively does not deserve it. Thus even if we
watch Psycho for second time and we know that Norman Bates is the killer, we still
identify with him and feel suspense on his behalf when he disposes of Marion Crane´s
dead body.
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audience with the point of view of a character in the sense of
(Allen 54)
Despite a significant distance between true sympathies and wishes for moral and
narrative outcome of a given story, spectators can be manipulated into shared suspense
situation with an antagonist and momentarily support his actions even though moments
later they once again ―root‖ for the hero of the story. ―Suspense situation thus
contributes to sympathy for the devil by severing our emotional responses to character
from their customary moral anchor‖ (Allen 59). The alignment with Norman Bates in
Psycho is also possible due to the fact which was already mentioned, his character
possesses generally positive character traits, at least until his true identity is revealed.
But Hitchcock is able to align spectators with completely negative and unsympathetic
characters such as Rober Husk in Frenzy. This protagonist is a serial killer and in a
particular scene he tries to get hold of a tiepin which is a clue that can lead police to the
identity of the killer – to him. In this case Hitchcock applies an interesting strategy in
order to establish identification and positive feelings towards generally negative and
unlikable character. He contrasts Rusk with negative properties of the main hero,
society and unlucky circumstances. When he tries to find the tiepin, the scene is shot
from the point of view that creates sympathy for otherwise despicable character. The
audience can align and share suspense with Rusk in this scene, once again manipulated
by Hitchcock into this situation at least for a short and limited space in time.
was not only utilized in order to manipulate audience into sympathizing, at least
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temporarily, with a villain.
moral coordinates that discriminate the good guys from the bad
and the sense of loyalty that these topics create in the spectator. An example can be
found in The 39 Steps where the main protagonist, Richard Hannay, is framed for
murder which he did not commit. Similar situation is present in Notorious where Alicia
which is working on a nuclear bomb in Brazil. Third example can be taken from
Strangers on a Train where Guy Haines is caught up in a diabolical plot in which the
villain, Bruno Anthony kills his wife and threatens to frame him for the murder unless
Guy kills Bruno´s father. The obstacles that the hero has to overcome in these narratives
place him in the ―wrong man‖ situation. Hitchcock thus frequently creates a situation
where we can witness conflict between morality and injustice as the hero tries to clear
his name and reveal the truth. In these films, Hitchcock utilizes the general principles of
morality to connect the spectators with the main protagonists who are in danger. What
also revolves around suspense that is generated in Hitchcock´s films around plot which
involves a conflict between hero and villain is a link to suspense which is created by
romantic elements. The situation where the hero must overcome an overwhelmingly
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difficult situation possesses intrinsically romantic elements. Hitchcock described this
thriller, although the emotional emphasis of romantic suspense is different‖ (Knight, and
McKnight 108). If we look at suspense from the perspective of a thriller then our
concern lies ―with the threat posed by the agents of evil and we fear for the hero´s
safety‖ (Allen 73) whereas the focus of romantic comedy is placed ―in our wish for a
happy outcome and the way in which that wish is frustrated by obstacles placed in the
way of the romance‖ (Allen 75). If we combine these two elements than we can
Hitchcock used this combination very frequently in his films as he introduced romantic
elements into thrillers which helped the spectators to be emotionally involved in the
film.
the allure of human perversity‖ (Allen 68). He usually treats human sexuality as
something which is intrinsically perverse and is often linked to violence. The scenes of
suspense in Hitchcock´s films often contain sexual content, sometimes directly and
kind of visual pun or darkly comic double-entendre – a masculine form‖ (Bauso 238).
André Bazin said that Hitchcock complained to him about the ―necessity of renouncing
adult, masculine humor in order to satisfy American producers‖ (Bazin 65). If we look
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at this masculine feature from the perspective of suspense, we can discover that
present perversity of male protagonists. By examining one of the oldest major films
made by Hitchcock during the era of silent movies, The Lodger, we will see that the
main idea of the films circles around the question whether the main protagonist of the
film, a mysterious stranger, is a dangerous and wanted murderer. The stranger is also in
love with the main heroine therefore suspense situations arise from the possible close
proximity of lethal danger to the heroine. Hitchcock cleverly obscures everything that
the stranger does with ambiguity so that it is never clear what the stranger is up to and
whether he really is the dangerous, perverse killer. ―Is he approaching the bathroom to
apologize for giving her a gift or to attack her? Is his look the look for love or
annihilation? Is he reaching for the poker to put out the fire or to strike the heroine?‖
(Allen 90). These confusing and ambiguous scenes create suspense in the classical sense
as we fear of what might happen to the female protagonist if the stranger truly is the
wanted murderer. Hitchcock plays with the audience by hinting at the possible sexual
audience is invited to root for the heroine and fear on her behalf, we
are also invited to enjoy the portrayal of a desire that is perverse and
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Miriam as we feel little sympathy for her. Hitchcock creates suspense around sexual
tension combined with the fact that even though we do care little for Miriam we do not
know what Bruno is really going to do and we nervously expect what is going to
happen. The entire feel of the chase scene is very sexual as Miriam flirts with various
men and even seems to give a flirty look to Bruno just seconds before he murders her.
Hitchcock once again puts us into the viewpoint of Bruno, therefore into a position of a
deranged man who is about to kill an innocent woman during a rather ―sexualized‖
scene. ―Hitchcock align us with Bruno and evokes, with extraordinary formal dexterity,
the thrill of the sexual chase, laced with the aura of deadliness‖ (Bauso 236).
relation of voyeurism and sexuality as driving forces to create suspense can be found in
Rear Window. Here Hitchcock allows the spectator to identify himself with the main
character as the main protagonist is a spectator himself. Just like a movie audience, L.B.
Jefferies watches the world around him due to his temporary disability to walk.
―Hitchcock playfully exploits the distinction between character and spectator, as well as
their possible alignment‖ (Allen 90). In Rear Window Hitchcock exploits the notion of
identify and subsequently even catch a murderer. Hitchcock suggests numerous times
throughout the film that spying is immoral and perverse but at the same time he mocks
this moral assessment by allowing Jefferies to use this perversity to catch a dangerous
wife killer. The instance of spying on other and the notion of voyeurism ―is endowed in
(Allen 92). The entire film thus feels at times as a black comedy. Despite the uneasy
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feeling that a possible murderer lives just a few meters away from the apartment of the
main hero, we cannot resist a strange feeling that we are literally voyeurs eavesdropping
on another voyeur.
We can safely watch L.B. Jefferies watch but at the same time this scenario
successfully creates suspense as we, just like Jefferies, cannot influence what is
happening on the screen and we cannot help Lisa Fremont escape from Thorwald´s
apartment. The idea of morality and its connection to suspense and perversity and
voyeurism can also be detected in Rear Window. The idea is represented by Stella who
criticizes Jefferies for spying on his neighbors. ―We've become a race of Peeping Toms.
What people ought to do is get outside their own house and look in for a change. Yes sir.
How's that for a bit of homespun philosophy?‖ But once again Hitchcock mocks this
―moral lesson‖ - Stella soon joins Jefferies and Lisa in their investigation and she is
mean to generate suspense. In Vertigo Scottie follows Madeleine and then eventually
becomes totally obsessed with her. Scottie´s following of Madeleine becomes perverse
as we know that he clearly becomes more and more obsessed with her and it is actually
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Hitchcock´s mastery of suspense consists in being an
85)
lighten the tension which results from a given situation which the audience is exposed
to. Examples of this technique are present in number of Hitchcock´s films and even the
most serious topics and situations are often relieved of pressure by Hitchcock in
subsequent scenes. In North by Northwest such scene occurs when Roger Thornhill
steps into an elevator with his mother and with his pursuers. The situation that Thornhill
finds himself in is potentially very dangerous as he knows that the men who are chasing
him already tried to kill him. Hitchcock eases the intense moments by introducing a
joke when Thornhill´s mother asks the killers: ―You gentleman aren´t really trying to
kill my son, are you?‖ Seconds later the men start laughing and the entire elevator
follows. Hitchcock completely diverts attention from the dangerous situation and
instead shows how ridiculous the entire situation seems. In Rear Window, nurse Stella
often provides comic relief in suspense moments and the entire relation triangle
between Jeff, Stella and Lisa offers numerous comic situations, in particular when Jeff
and Lisa argue about their relationship only moments after the suspicious neighbor
seem seems to be carrying a dead body in a suitcase out from his apartment. By using
black humor, Hitchcock diffuses negative emotions that arise during situations which
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are inherently not funny and dissolves suspense situations in order to continue in the
Black humor often occurs in situations which are distinctive for the presence of
audience with a character that is morally wrong, such as killer or a thief and
connection between humor and identification with a morally stained character can be
seen in Rope where two men kill their victim as an intellectual exercise. In one
particular scene one of the culprits cynically tells jokes which are pointing at the fact
that murdered victim might be close. The situation is funny and Hitchcock sets the
scene in such a way that we are identified with the killers by using black humor.
humor often encourage the viewers to watch morally despicable actions such as getting
rid of a dead body. Humor facilitates the connection between viewers and the film and
relives the spectators during tense situations and helps to facilitate this ―guilty
identification with Rusk when the killer must retrieve tiepin from a dead body.
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Hitchcock softens the entire situation by creating a number of obstacles that prevent
Rusk from getting to the tiepin. When he finally discovers it, he cannot release it from
the corpse and he eventually ends up with his head in between the corpse´s legs, hinting
at necrophilia. ―The way Hitchcock invites us to root for Rusk during his ordeal is an
extreme instance of black comedy combining suspense to elicit sympathy with the
devil‖ (Allen 84). The dark humor that is introduced by Hitchcock very often in the
most ironic and cynical ways is a strong driving force behind the suspense itself
because even though it relieves the tension and generally lightens the tone of the
different way and thus invite the viewers to experience the suspense situation again.
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6. Conclusion
Alfred Hitchcock ventured into many film genres during his career and elements
of thrillers, horrors, black comedies, romances and drama can be observed in his films.
One of the most recurring unifying elements in his works are problematic relationships
of characters with their mother with the most prominent example being Norman Bates
from Psycho. The themes of mistaken identities and innocent protagonists who are
framed for a crime are present in North by Northwest or The Wrong Man. Presence of a
femme fatale in the form of an ―icy blonde‖ is also extremely frequent in Hitchcock´s
films, most particularly in North by Northwest or Birds and of course one of the most
unifying elements is suspense. All the above mentioned recurring themes and motifs
listed in the relevant chapter of this thesis seem to appear in repeating structure of
Hitchcock´s films which is the structure of loss, search and recovery. This general frame
is present in majority of films, in particular in the films that feature a ―wrong man‖ who
The common topics and ideas in the films of Alfred Hitchcock point at a certain
demonstrates Hitchcock´s auteur status. Francois Truffaut was one of the major
believers in the notion of the auteur and saw Hitchcock as a perfect example of an artist
who is fully in control of his work and projects his creative ability into films which
allows creation of a distinctive and easily recognizable style of the director. The ideas of
the film maker should not be lost during the process of film making and the final
script to film. Since Hitchcock was known for having a clear picture of his films and he
was able to express his style in such a way that movies from his repertoire have always
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been distinctive, it is no surprise that he is viewed as a strong film maker whose status
film producers which would eventually cause dilution of his signature style.
In the peak of his career which came when Hitchcock was already a well
established film maker in United States, he became a popular cultural icon which was a
manifestation of his ability to exploit his status beyond the sphere of film industry.
Hitchcock was involved in number of projects which were more or less related to his
position in film industry in order to export his popularity and subsequently generate
further income which was a motivation that he never denied. Along with his significant
popularity in mainstream media came a situation when Hitchcock was often denied
appreciation of artistic value of his films particularly by American film critics who
accused him of sacrificing value and content for form and success. On the other hand
creative force and stood by their favorite auteur in defense against frequent American
criticism.
From the numerous related and recurring themes in Hitchcock films, suspense
seems to be often the most unifying element in almost all of them. Various film critics
approach suspense in Hitchcock´s films as a major driving force but at the same time it
is important to not omit other important features in Hitchcock´s movies and see
suspense as an overwhelming and ever present motivation for which other important
Hitchcock is the idea of subjective suspense which differs from objective, or we can say
suspenseful scene through the eyes of a given character which allows the director to
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align the protagonist with the audience. Once the audience makes an emotional
investment into any given situation or any character it can be manipulated in such a way
On the examples of North by Northwest, Psycho and Rear Window, this thesis
shows how Hitchcock used spatial setting as a major force for generation of suspense.
the characters were restricted in their options to prevent danger. In particular the setting
demonstrated that alignment with a protagonist, which is one of the key elements in
character because the director can manipulate audience in such manner that it shares
suspense with any given character, at least temporarily. In the final chapter which
focuses on suspense, the connection between sexuality, humor, voyeurism and suspense
The examples show how Hitchcock linked human sexuality and perversity with
potentially a killer (Lodger) by streaming the narrative through his eyes, thus exposing
the audience to the potential sexual deviation of the protagonist. Voyeurism is most
dangerous killer. Finally, the connection between suspense and humor is described on
the example from Rope and Frenzy where Hitchcock establishes identification with
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characters through humor scenes which places the spectators into the situation of a
building up of suspense and even though the idea of subjective suspense is associated
with Hitchcock the most, the fact is that he did not solely employed subjectivity in
relation to suspense and the notion of classical, objective suspense is also heavily
present in his films. Hitchcock said many times that the superiority of knowledge of
film audience is the key to suspense but he also successfully employed shared
knowledge, a situation where both the spectators and film protagonist share the same
amount of information which is most obvious in Rear Window and this film is an
example that this technique works very efficiently. It is the combination of objective and
align spectator with any character and also cinematic techniques that made him so
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Bibliography
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Czech Abstract
jakým tento režisér budoval a používal napětí ve svých filmech. Práce také poskytuje
hlediska.
cíle a obsah. Kapitola druhá se zabývá stručným životopisem Alfreda Hitchcocka, jsou
průmyslu. Jeho přijetí a vnímání americkou a britskou optikou je také součástí této
kapitoly.
vysvětleno proč byl u zastánců této teorie tak oblíbený a také se práce v této své části
které se promítaly v řadě Hitchcockových děl a tvořily jakýsi řetězec, který jednotlivé
filmy spojoval.
se autor zabývá nejdřív napětím obecně, definuje, co napětí vlastně je a jak vzniká. V
jednotlivých podkapitolách jsou poté představeny techniky, které Hitchcock využíval při
filmech.
shrnuty.
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English Abstract
This thesis focuses on the works of Alfred Hitchcock and in particular on the
manner which Hitchcock used to create and use suspense in his films. The thesis also
provides general overview of Alfred Hitchcock from the perspective of auteur theory
The thesis is divided into 6 chapters. The thesis, its goal and content is
introduced in the first chapter. Second chapter focuses on Hitchcock´s biography, his
films are introduced as well as certain events from his personal life.
Chapter number three focuses on Hitchcock from cultural perspective, the way
how Hitchcock used his popularity, which stretched beyond film industry, is described.
The chapter also provides overview of the director´s reception and viewing using
theory and the reasons why Hitchcock was supported by supporters of this theory are
explained. This chapter also analyzes recurring themes in Hitchcock´s films, the goal is
to point out elements which were manifested in a number of Hitchcock´s movies and
The chapter that analyzes suspense is divided into four sub chapters. In this part
of the thesis the author describes suspense in general, he defines what it is and how it is
created. The techniques that Hitchcock used to create suspense are introduced in
individual sub chapters and also the way how these techniques were employed in
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