CONCLUSION

My argument in this book has been that different viewers of a given

cultural object will quite typically draw dissimilar conclusions for a set of
describable reasons. Using Hitchcock’s Vertigo as my case study, I have
attempted to summarize these reasons as both cognitive and cultural.
First, a basic cognitive insight is that people quite naturally attend to
different details in different sequences. They play current insights against
those inspired by other cultural objects, ideologies, social formations,
historical accidents and the like, introducing what might be called inter-
pretive distortions. Moreover, human cognition is prone to certain kinds
of fallacies, illusions and processing errors, compounding the amendments
stimulated by retroactive re-elaborations (i.e., critical iterations and recur-
sions). My central metaphor for this messy process is the hermeneutic
spiral, although it would probably be more accurate to refer to spirals,
since the neatness of the one image does not resemble the proliferation of
diverse opinions that are possible—and highly likely.
A slightly less basic cognitive insight is that one can account for the variety of
opinions about Hitchcock’s Vertigo by alluding to a selection of psychological
phenomena, including anchoring, attentional bias, the availability heuristic,
confirmation bias, illusory correlation, naïve realism and the representativeness
heuristic. There are many similar, empirically demonstrated biases that would
probably add to the insights I have offered here. For example, individual
suggestibility—a proneness to replacing real memories with the suggestions
of an interlocutor (Gudjonsson and Clare, 1995)—might explain why some

© The Author(s) 2017 123

R.J. Belton, Alfred Hitchcock’s Vertigo and the Hermeneutic Spiral,
DOI 10.1007/978-3-319-55188-3
124 CONCLUSION

writers have repeated the factual errors of a predecessor, not to mention

interpretative distortions that are not, in and of themselves, “factual” (because
they are unfalsifiable). Similarly, psychologists know that memory is not an
objective record of events but a reconstruction, as if recounting a story that gets
better with each telling. Retellings open us up to distortions of memory that
researchers have described as “leveling and sharpening,” the gradual fading of
some details and their replacement by seemingly more acute ones (Koriat et al.,
2000). The Hitchcockian blot described above might be reframed as the
isolation (or von Restorff) effect, in which things that “stick out” are more
easily recalled than things that do not (Parker et al., 1998). Finally, a curious
cognitive bias called the “telescoping effect” offers an interesting but quite
accidental similarity to the most distinctive element of Vertigo, its dolly zoom.
The telescoping effect is a type of temporal distortion in memory in which
subjects think recent events are remote and remote events are recent (Janssen
et al., 2006).
Second, on the cultural side of the equation, I have attempted to
demonstrate that even if you could imagine a group of critics who have
no cognitive biases, you would still see interpretative variations in their
works because they always see a given cultural object in the light of
their interpretations of other cultural objects. Here I have found it
useful to deploy Stephen David Ross’s concept of inexhaustibility by
contrast, in which things can be arranged in orders to describe the
ways they relate to and differ from one another. This sorting gets us
thinking about different possibilities of meaning. It seems straightfor-
ward to compare Hitchcock’s Vertigo to his other films because that
would be an order with fairly high integrity. A highly deviant order
would be one that encourages us to interpret Vertigo alongside films
from the early modern avant-garde, late twentieth century auteurist
cinema and television, and obscure Canadian experimentalism. To do
the latter, as crazy as it might seem, is quite precisely to model how
interpretive variety comes into being, even if it runs the risk of our
venturing into pure outlier territory.
Because there can theoretically be no end to the number of things one
could compare or contrast to Vertigo, there is no end in sight to the
possibilities of interpretation. In that regard, I suppose I would have to
side with those who favor postmodernism and deconstruction in their
critical approaches. I do so, however, for quite different reasons. The
undecidability of meaning is less a function of existential absurdity and
semiotic indeterminacy, in my mind, than it is a consequence of natural
 CONCLUSION 125

cognitive defects, a wilful limitation of possibilities driven by ideological

convictions, and simple intellectual fashion. With that in mind, I suppose I
have to agree with those who eschew auteurism, itself a growing critical
trend (Brody, 2014). I have written as if to lionize, say, both Hitchcock
and Kubrick, but the alleged “genius” of both has recently been demys-
tified (e.g., Raphael, 2006).
What I am left with is deep sense that these cultural objects have played
some kind of role in constituting the illusion that is me, so I return to the
autoethnography with which I began. These thoughts are ones that have
been stirring in me since my days in Paris as a graduate student—indeed,
even earlier, when I was an undergraduate struggling to characterize my
thinking as “cumulative impression,” the formation of a sense of meaning
through the gradual accretion of reactions, thoughts and convictions
(usually in that order). Now, of course, I see all of this as retroactive re-
elaboration along the axis of a hermeneutic spiral that looks like a circle
when seen from one end but that opens infinitely into the unknown when
seen from the side.
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 INDEX

A Art history, 8, 11, 45

Abrams, Jerold J., 108 Ascher, Rodney, 91
Absurd, 7, 36, 106, 108 Asch, Solomon, 103
Acrophobia, 25, 49, 59, 60, 69, 73, Associative distance, 60
83, 117 Attention, 15, 19, 112, 121, 123
Aesthetics, 13 Atwood, Margaret, 4
Age differences, 68 Auiler, Dan, 26, 32, 50, 53, 55, 59,
Agel, Jerome, 7 67, 71, 85
Agency, 11 Auteurism, 28
Ager, Rob, 91–92, 117 Authenticity, 31, 32, 69, 108, 109
Alchemy, 76, 77 Authority, 11
Allegory, 24 Autobiography, 4, 10, 24, 53
Allen, Richard, 115 Auto-ethnography, 2
Alternate endings, 107, 108, 109 Availability heuristic, 4, 57, 60,
Alvinophilia, 51, 52, 70 70, 123
Analytic register, 28 Avant-garde, 6, 57, 63, 75, 98, 124
Anchoring, 103, 123
Anémic Cinéma, 5, 58, 60, 61, 75,
80, 95 B
Animation, 34, 49, 81 Backfire effect, 4, 12
Anlage, 34 Baggett, David, 24
Anxiety, 6, 76, 79, 80, 82, 83, 89, 90, Ballantyne, John, 89, 90
91, 93, 95, 96, 101, 102 Bal, Mieke, 11, 12
Apophenia, 88 Balsam, Martin, 52
Architecture, 27, 62 Barbarow, George, 55
Argosy Bookshop, 40, 72 Barr, Charles, 40, 119
Arnheim, Rudolf, 12 Barthes, Roland, 5, 29, 77

© The Author(s) 2017 145

R.J. Belton, Alfred Hitchcock’s Vertigo and the Hermeneutic Spiral,
DOI 10.1007/978-3-319-55188-3
146 INDEX

Barton, Judy, see Judy Cherry, E. Colin, 102

Bass, Saul, 49, 50, 53, 58 Childhood, 6, 7, 31, 34, 108,
Beckett, Samuel, 105–106, 108 109, 110
Bed, 25, 27, 28, 67, 77, 98, 99 Chion, Michel, 96
Bel Geddes, Barbara, 25, 68 Chunk, 112
Bell tower, 26, 36, 49, 59, 72, 81, 93 Church, 109, 110
Belly dancing, 51 Churchill, Winston, 14
Belton, Robert, 1, 9, 24, 72, 80, 92, Ciment, Michel, 111, 113
106, 110 Cinematography, 1
Benjamin, Walter, 39 Circulatory, 15, 17
Bergman, Ingrid, 36, 89 Cixous, Hélène, 82
Bergman, Oscar, 104 Clarke, Arthur C., 7
Biography, 3–4, 10, 24, 31 Closure, 15, 16, 17, 18, 25, 52, 78
Bird, 68, 69, 87, 110 Clouzot, Henri-Georges, 40, 58
Bitextual, 40 Coffee pot, 67
Black, Karen, 53 Coffey, Amanda, 3
Blackmail, 101 Cognitive bias, 4, 11, 12, 60, 103,
Bogdanovich, Peter, 30, 31, 65 104, 124
Boileau-Narcejac, 3, 40 Cognitive processing, 4, 12, 13, 19,
Born, Richard T., 20 50, 102, 103
Bra, 29, 33, 37, 62, 66, 73 Cognitive-shift theory, 100
Breton, André, 59, 76 Cohen, Tom, 39, 70
Broadbent, Donald Eric, 102 Coit Tower, 32, 33, 47, 53, 67,
Brody, Richard, 125 68, 100
Brooks, Xan, 117 Cold War, 35, 65
Brougher, Kerry, 24 Coleman, Herbert, 69
Brown, Royal S., 29, 40, 48, 66, 89 Colorado, 88, 91, 92, 117, 119
Brulov, 89 Coloring Photographs, 69
Bumstead, Henry, 32, 53, 69 Commandeur, Johannes, 77, 78
Buñuel, Luis, 40, 57 Commelin, Jan, 78
Burks, Robert, 1 Comparative, 16
Confirmation bias, 4, 5, 15, 43, 44,
48, 52, 60, 63, 72, 77, 91, 92,
C 102, 123
Calumet, 92 Conley, Katharine, 80
Camphausen, Rufus C., 79 Conomos, John, 49
Cantilever, 61, 65, 66, 72 Conrad, Daniel, 7
Carlström, Birger, 8, 11 Constraints, 5, 15, 16, 19, 21, 39
Cavell, Stanley, 9, 37, 97 Contagion, 10, 12
Charmaz and Mitchell, 2 Context, 3, 4, 5, 9, 10, 11, 32, 36, 44,
Chekhov, Michael, 87, 89 46, 49, 54, 62, 83, 97, 100, 101,
Chekhov’s skill, 87 110, 118

Continuity error, 72, 109
Cooper, Dale, 97
Copeland, Charles, 68
Coppel, Alec, 3, 32
Corber, Robert, 24, 35
Corby, Ellen, 118
Corset, 25, 33, 37, 60, 61, 62, 99
Corwin, William, 107
Cowan, Nelson, 112
Crane, Marion, 52, 68
Crewe, 101
Crothers, Scatman, 86
Culturality, 13, 15
Cumulative impression, 125
Cybele, 92
D Ellis and Bochner, 2
Dalí, Salvador, 57, 89
Database of expectations, 46, 48
Davis, Colin, 8
Davis, Whitney, 4, 13, 14, 15, 16, 43
Deconstruction, 10, 17, 36, 38, 124
Deflowering, 34, 83
Delabaere and Philippe, 85
De la Rivière, André, 76
Deleuze, Gilles, 8, 12
Della Vacche, Angela, 13
Denzin and Lincoln, 3
Deren, Maya, 98
Derrida, Jacques, 8, 39
De Sade, Marquis, 77
Desnos, Robert, 5, 75, 76
Deviance, 14, 57, 58, 104
Dial M for Murder, 31
Disney, Walt, 34
Dizziness, 49–50, 61
Documentary, 7, 10, 91, 107
Donner, Richard, 7
Double happiness, 32
Draakenstein, Hendrik van Rheede
tot, 78
INDEX 147
Dream, 34, 57, 68, 82, 89, 90, 118
Driver’s license, 71, 72
Dr. Strangelove, 7
Duchamp, Marcel, 5, 57, 58, 59, 60,
62, 75, 76, 80, 81, 95
Durgnat, Raymond, 29, 30, 32, 34, 40
Duvall, Shelley, 86
E
Eagleton, Terry, 2
Easter eggs, 43, 44, 49
Eddy, Max, 87
Editing, 28, 65, 81, 98
Elbow, 48
Elder, Bruce, 59, 75
Elkins, James, 8, 11
Elster, Gavin, 25, 26, 35, 40, 41, 48,
68, 69, 71, 72, 82, 93, 109
Elster, Madeleine, see Madeleine
Empire Hotel, 63
Empire State Hotel, 89
Empirical aesthetics, 12
Enantiosemy, 5, 49, 79, 82, 83
Entertainment, 10
Epistemological fantasies, 29
Epitext, 4, 51, 52, 63, 65, 110
Epley and Gilovich, 104
Eraserhead, 96
Erection, 48, 62, 63, 64, 68, 70
Ernie’s, 25, 32
Ernst, Max, 12, 78, 110
Ethnography, 2
Etoile de mer, 5, 75, 76, 77, 79, 81,
82, 92
Etrog, Sorel, 1, 6, 102, 104, 105, 106,
107, 108, 109, 110, 114
Every, David K., 44
Evidence, 7, 10, 12, 34, 46, 52,
66, 105
Excess, 9, 11, 79
148 INDEX

Existentialism, 6, 106, 108, 109, 115, Friendly criticism, 17, 18, 23, 33, 35
117, 124 Frumkes, Roy, 1
Experiential register, 28 Fry, 108
Experimental film, 5, 6, 20, 98,
105, 110
Experimental studies, 103 G
Expert power, 11 Gambill, Norman, 77
Eye, 4, 44, 46, 49, 50, 52, 57, 58, 59, Garcia Landa, José Angel, 17, 23, 24,
70, 88, 95, 99 33, 34, 39
Eye tracker, 44, 45 Garrett, Greg, 53
Gavin, see Elster, Gavin
Gaze, 24, 37, 38, 41, 52, 70, 81, 85,
F 87, 88
Father, 31, 33, 71, 87, 96, 109, 117 Geertz, Clifford, 2
Fear of falling, 39, 50, 52, 64, 90, Geezer, 83
108, 113 General Theory of Visual Culture, 13
Fear of heights, 26, 62 Genette, Gérard, 50
Feedback loops, 13, 15, 48 Genres, 19, 120
Female perspective, 37 Gerty, A. Vincent, 23, 33
Ferguson, John Scottie, see Scottie Ghost, 85, 113, 119, 120, 121
Fetishism, 51, 66, 75, 76, Giant, 97, 108
79, 80 Gilmore, Richard, 108, 109
Fetterley, Judith, 17, 24 Gingrass, Katherine, 77, 92
Fiedler, Klaus, 104 Golden Gate Bridge, 25, 81, 101, 108
Fielding, Raymond, 54 Goldsworthy, Andy, 20
Film studies, 12, 24, 45, 51 Gombrich, Ernst, 12
Fischer, Michael, 3 Goodfellas, 59
Flory, Dan, 36 Goodkin, Richard E., 62, 66
Flowers, 37, 40, 79, 82, 99 Gottlieb, Sidney, 55, 57
Focus, 1, 41, 77, 88, 102, Grady, Charles and Delbert, 106, 111,
110, 112 113, 119, 120
Fort Point, 25, 66, 81, 108 Graham, Elspeth, 116
Freedman, Jonathan, 24, 35, 55, 65 Grammatical interpretive
Freedman and Millington, 55, 65 progression, 16
French and Raven, 11 Grant, Cary, 50, 112
Freud, 37, 38, 54, 62, 81, 82, 90, 99, Grave, 25, 34, 82
114, 118 Gray, Jonathan, 51
Freudian, 4, 5, 6, 27, 31–35, 37, Green and House, 4, 14, 15, 18, 57,
41, 46, 48, 50, 53, 61, 67, 68, 58, 103, 124
76, 79, 80, 83, 86, 90, 99, 101, Groves, Tim, 11, 48, 61
110, 118 Gunning, Tom, 96

Gunz, Joel, 85
Gurren Lagann, 21
H Hyacinth, 5, 79, 80, 81
Habermas, Jürgen, 3
Haeffner, Nicholas, 69
Hair, 26, 63, 66, 69, 72, 82, 100, 118
Halloran, Dick, 86, 87, 92
Hammid, Alexander, 98
Hanging, 36, 118
Harlan, Jan, 117
Harpaz, Yehouda, 20
Harris, Robert, 1
Hasson, Uri, 45
Hayano, David, 2
Hayward, Susan, 40
Hecht, Ben, 31, 33
Hedges, Inez, 76, 77
Heidegger, Martin, 108, 109
Helmore, Tom, 25
Hermeneutic spiral, 18, 21, 25, 27,
28, 30, 34, 39, 41, 43, 48, 49, 50,
53, 54, 58, 60, 64, 72, 75, 103,
112, 120, 121, 123
Hermeneutics of suspicion, 17, 39
Herrmann, Bernard, 1, 49
History, 2, 8, 11, 23, 40, 45, 54,
57, 69
Hitchcock, 1, 3, 4, 6, 11, 23, 24, 27,
28, 29, 30, 31–37, 39, 40, 41, 44,
46, 49, 51–55, 57, 58, 59, 62–72,
81, 83, 89, 90, 92, 95, 96, 100,
101, 102, 105, 108–110, 115,
119, 123–125
Hitchcockian blot, 5, 44, 64, 112, 124
Hollinger, Karen, 24, 37, 41
Homophobia, 35, 65
Hooper, Tobe, 59
Horak, Jan-Christopher, 58
Horton, Andrew, 32
Hortus Indicus Malabaricus, 78
INDEX 149
Hospital, 26, 89, 90, 100, 107
Hostile criticism, 17, 38, 39
Hultkrans, Andrew, 58
Humor, 5, 6, 55, 76, 100, 101
I
Ichheiser, Gustav, 103
Ideology, 14
Illusory correlation, 104, 123
Imaishi, Hiroyuki, 21
Immersion criticism, 107
Impotence, 34, 50, 62
Inattentional blindness, 15
Indeterminacy, 2, 36, 38, 39, 124
Inexhaustible by contrast, 15
Information theory, 2
In-joke, 71, 80, 81
Innuendo, 60
Inquest, 26, 99
Inside joke, 44, 53
Integrity, 14, 57, 58, 104, 124
Intentions, 8, 10, 12, 68
Internet Movie Database, 23
Interpretation, 3, 4, 6, 8, 10, 11, 13,
16, 18, 23, 34, 35, 40, 41, 57, 60,
71, 72, 75, 77, 79, 80, 83, 90,
101, 103, 104, 124
Intertext, 4, 5, 18, 29, 30, 40, 76, 77
Intuitive, 16
Invisible gorilla test, 44, 46, 48
Isolation effect, 124
Isotopy, 9
It Happened One Night, 9
Ito, Teiji, 98
J
Jacobs, Steven, 27, 70
Jail, 31, 33
Jameson, Fredric, 70
150 INDEX

Janco, Marcel, 105 Latent content, 38, 99

Janes, Regina, 82 Latta, Robert L., 101
Janssen, S. M. J., 124 Laura, see Palmer, Laura
Jaws, 59 Leder, Helmut, 4, 15, 20
Jean, Terri, 92 Lee, Sheryl, 96, 97
Johnson, Diane, 86, 111 Leff, Leonard, 35
Joke, 33, 52, 66, 100, 101 Leibl, Pop, 41
Judy, 26, 30, 34, 35, 36, 37, 40, 41, Leland, see Palmer, Leland
63, 66, 69, 70, 71, 82, 89, 100, Les Diaboliques, 40, 58
109, 114 Lewin, Kurt, 103
Liberty, 5, 78, 85, 92, 93, 108
Libidinal economy, 65
K Life, 35
Kahneman, Daniel, 60, 104, 112 Ligeia, 41
Kalinak, Kathryn, 96 Light, 5, 6, 13, 18, 20, 43, 46, 54, 60,
Kamenetsky and Okubo, 81 63, 65, 71, 75, 81, 92, 97, 104,
Katz, James, 1 114, 117, 118, 124
Keane, Marian E., 37 Lighting, 9, 97
Kendall, Richard, 8 Linderman, Deborah, 38, 66, 72
Kiki de Montparnasse, 76, 92 Linguistic, 16
Killer BOB, 98 Lin and Ross, 43, 103
Kirkham, Pat, 53 Lissajous curves, 49
Klosterman, Chuck, 107 Lloyd, Danny, 86
Knife, 52, 77, 90, 92, 99, 101 Lloyd ghost, 109
Knowles, Kim, 76 Lloyd, Norman, 108
Koopman, Marel, 95 Location, 15, 18, 58, 62, 68, 78, 108
Koriat, Asher, 124 Locher, Paul, 46
Kovacs, Stephen, 77 Locked groove, 97, 98
Kraft and Leventhal, 69, 115 Locke, John, 100
Krohn, Bill, 34 Loops, 14, 20, 25
Kubrick, Stanley, 5, 7, 83, 86, 87, 106, Loplop, 110
107, 108, 109, 111, 113, 117, Lynch, David, 5, 95, 96
119, 125
Kuiper, John, 13
Kuleshov effect, 28, 65 M
Kuta, Małgorzata, 76 MacLachlan, Kyle, 97
Kwakman, Job, 78 Maddin, Guy, 110
Madeleine, 25, 26, 35, 37, 38, 39, 40,
41, 47, 49, 59, 61, 63, 64, 66, 67,
L 68, 69, 70, 71, 72, 73, 81, 82, 83,
Lacan, Jacques, 37, 39, 65, 69, 70, 86 91, 93, 100, 108, 109, 114, 115,
La Casa Viuda II, 11 117, 118, 119, 120, 121
 INDEX 151

Magrini, James, 77 Mother, 33, 61, 62, 71, 87,

Magritte, René, 110 101, 110
Manifest content, 18, 34 Motion Picture Code, 52
Manlove, Clifford T., 70 Mozart, Wolfgang Amadeus, 26, 100
Manmadhan, U., 79 MSTRMND, 107
Man Ray, see Ray, Man Multiple locatedness, 15
Marcus, George, 3 Mulvey, Laura, 24, 37, 38, 39, 41, 70
Martin, Erik J., 62 Munday, Rod, 111
Martin, Katrina, 58, 59 Murder, 101
Marx, Karl, 119 Music, 49, 51, 61, 95, 96, 97, 99,
Masson, André, 77 100, 101
Mather, Phillipe, 88 Myth, 29, 39, 40, 82, 83, 88
Maze, 85, 87, 88, 91, 106, 116, 117
McCormack, Tom, 49, 50
McEntire, Frank, 20 N
McKenzie, Brennan, 12 Naïve realism, 103, 123
McKittrick Hotel, 25, 117 Nance, John, 96
McLeod, Kevin, see MSTRMND Narcejac, see Boileau-Narcejac
McLuhan, Marshall, 105, 106, 108 Native Americans, 91, 92
Memory, 6, 15, 98, 110, 112, 113, Navel, 51, 52, 53, 54
114, 115, 120, 124 Necklace, 26, 34, 71, 82
Mendez and Cherrier, 121 Neisser, Ulric, 120
Mendik, Xavier, 54 Nelson, Barry, 86
Mental illness, 34 Neurocinematics, 45
Mental map, 116, 119 Neurotic, 36
Merz, Mario, 20 Nicholson, Jack, 85
Meshes of the Afternoon, 98, 99 Nickerson, Raymond, 15
Metaphor, 4, 12, 18, 20, 21, 65, 71, Nieland, Justus, 97
79, 86, 88, 95, 104, 123 Nietzsche, Friedrich, 39
Mexico, 20 Nightmare, 38, 39, 40, 81
Midge, 25, 26, 29, 32, 33, 36, 37, 40, Nine Inch Nails, 21
41, 46, 47, 48, 60, 61, 62, 66, 68, Nolan, Amy, 88, 111
72, 99, 100, 101 Nosegay, 81
Miles, Vera, 52 Novak, Kim, 25, 26
Milward, Richard, 76 Nyhan and Reifler, 12
Mirror, 98, 106 Nystagmus, 50
Mission, 26
Mizejewski, Linda, 9
Modleski, Tania, 24, 37, 38, 70 O
Morgan, Daniel, 28 Obsession, 23, 26, 69, 72, 120, 121
Morris, Christopher, 24, 36, 38 Oedipal, 32
Most, S. B., 44 Ondra, Anny, 101
152 INDEX
Order, 12, 13, 14, 19, 20, 26, 29,
31, 36, 58, 60, 65, 71, 75, 89,
91, 96, 101, 106, 107, 113, 119,
124, 125
Ordinal theory, 14
Orpheus, 40
Outlier, 6, 8, 11, 12, 104, 107, 124
Outsider, 17, 57
Overinterpretation, 8, 12, 13
Overlook Hotel, 86, 87, 92, 109, 117,
119, 120
Ozturk, Serkan, 12
P 113, 115, 119, 120, 121, 123
Paglia, Camille, 62
Paintings, 14, 15, 19, 27, 70, 81, 82
Palace of the Legion of Honor, 27,
70, 81
Palmer, Laura, 16, 96, 113
Palmer, Leland, 96, 97, 98, 99
Paratext, 4, 10, 50
Pareidolia, 88
Paris, 1, 51, 85, 104, 105, 125
Pattern, 2, 88, 95, 106
Perry, Dennis R., 24, 41
Persephone, 39, 83
Peucker, Brigitte, 40
Phallic, 32, 33, 47, 48, 53, 62, 63,
64, 65, 68, 69, 71, 80, 90, 99,
100, 118
Philosophy, 4, 6, 24
Phobia, 23, 26, 89, 90
Playboy, 67
Poague, Leland, 37
Podesta Baldocchi, 37, 81
Poe, Edgar Allan, 41, 111
Police, 60, 69, 109
Poltergeist, 59
Pomerance, Murray, 24, 39, 48, 119
Popova, Maria, 108
Post-Freudian, 17
POV, 28, 29, 38
Power, 11, 20, 69, 70, 93
Preminger, Otto, 58
Priming, 46, 48, 57
Prin, Alice, 76
Progressions, 16
Pronin, E., 43, 103
Pseudo-closure, 19, 20
Psycho, 4, 28, 40, 49, 52, 58, 68,
70, 118
Psychoanalytic criticism, 18
Psychological, 6, 9, 10, 11, 12, 15, 16,
24, 28, 38, 40, 44, 48, 49, 57, 58,
59, 70, 89, 93, 102, 110, 112,
Psychological romance, 120, 121
Psychology, 10, 11, 12, 29, 44, 116
Puns, 58
Pure cinema, 28, 30
Pygmalion, 29, 30, 40
R
Rabinovitz, Lauren, 76
Raphael, Frederic, 10, 125
Raybould, David, 44
Ray, Man, 5, 76, 78, 81, 96
Reardon, Morrie, 69
Rear Window, 65, 70, 108
Rebello, Stephen, 53, 58
Record player, 5, 61, 95, 96, 97, 98,
99, 101
Recursions, 13, 15, 43, 123
Renfro, Marli, 52
Renoir, Pierre-Auguste, 8, 11
Repetition with a difference, 16, 20
RePossessed, 44
Representativeness heuristic, 112, 123
Resisting criticism, 24, 34–35
Retroactive re-elaboration, 17, 18, 33,
34, 48, 123
Rhodes, John David, 99
 INDEX 153

Rich and Strange, 51 Scratch music, 96

Ricoeur, Paul, 9 Second viewing, 30
Ritchard, Cyril, 101 Sélavy, Rrose, 76
Robertson, Robert, 98 Selective auditory attention, 101, 102
Robinson and Piggins, 58, 104 Selznick, David O., 35
Room 237, 86, 91, 107 Semiotic, 2, 5, 7, 9, 37, 124
Rosshandler, Leo, 106 Sex, 53, 77, 81, 90, 99
Ross, Stephen David, 4, 14, 15, 18, Shakespeare, 4
57, 58, 103, 106, 124 Shannon, Claude E., 2
Rotatory, 17 Shark Week, 60
Rothman, William, 90 Ship, 48, 69
Russell, Jane, 29 Shuāngxǐ, 32
Ryan, John Fell, 107 Sickert, Walter, 14
Silva, Frank, 98
Silvia, Paul J., 13
S Simons and Chabris, 15
Sabotage, 34, 55 Sitney, P. Adams, 59, 76, 80, 92, 99
Saboteur, 108 Smithson, Robert, 20
Saito, Ayako, 114, 115 Smith, Susan, 29, 111
Salcedo, Doris, 11, 12 Snyder and Uranowitz, 112
Sallitt, Daniel, 29 Solomon, Robert C.,
Salvatore and Cancellieri, 21 103, 108
Samuels, Robert, 38, 90 Sparkes, Andrew, 3
San Francisco, 25, 31, 32, 49, 53, 69, Spellbound, 5, 31, 34, 35, 57, 85, 89,
93, 114, 115, 117 90, 91, 110
San Juan Bautista, 26, 63, 68, 69, 82 Spencer, Henry, 96
Sarre, P., 116 Spielberg, Steven, 59
Schkade and Kahneman, 104 Spiral, 3, 4, 6, 7, 18, 19, 20, 21, 49,
Schleiermacher, Friedrich, 16, 17 51, 53, 59, 60, 61, 63, 70, 81,
Schmidt, D. J., 16 103, 105, 106, 109, 114, 115
Schwartz, Gary, 8 Spiral Jetty, 20
Scopophilia, 37 Spiral Resonance Field, 20
Scorcese, Martin, 59 Spoto, Donald, 31, 55, 72, 83, 110
Score, 1, 104 Stairs, 5, 26, 34, 48, 91, 92, 97, 98,
Scorolli, 51 117, 118, 119
Scottie, 25, 26, 28, 29, 31, 32, 33, 34, Stam, Robert, 40, 69
35, 36, 37, 38, 39, 40, 41, 46, 47, Star Child, 7, 8
48, 49, 50, 53, 59, 60, 61, 62, 63, Stefano, Joseph, 52
64, 65, 66, 67, 68, 69, 70, 71, 72, Stepladder, 25, 47, 62
81, 82, 83, 88, 92, 93, 95, 99, Stereokinetic depth, 58, 95
100, 101, 108, 109, 114, 115, Stevens and Raybould, 44
117–119 Stevens, Richard, 44
154 INDEX
Stewart, James, 25, 65, 68, 72
Stranger on a Train, 31
Struycken, Carel, 97
Successions, 13, 15, 43, 97
Suicide, 25, 26, 47, 99, 108
Sullivan, 49
Superman, 7, 12, 13, 39, 104
Surgery, 53, 106
Surplus knowledge, 65
Surrealism, 1, 2, 78, 99
Surveillance, 35, 110
Suspense, 113
Suspension, 62
Swank magazine, 67, 68
T Tryon, 25
Taste, 15, 19, 55
Taylor, Samuel, 3, 33, 36, 55, 71,
85, 100
Technical assistance, 23
Technical interpretive progression, 16
Telescoping effect, 124
Text, 5, 8, 9, 12, 16, 17, 18, 38, 44,
50, 59, 76, 77, 79
The Downward Spiral, 21
The Man with the Golden Arm, 58
The Paradine Case, 29
The Red Drum Getaway, 85
The Shining, 5, 6, 85, 89, 87, 88, 91,
92, 106, 107, 108, 109, 110,
111, 112, 113, 114, 115, 116,
119, 120, 121
Therapy, 23, 25, 26, 36, 62, 89,
100, 101
Thick description, 2
Thiher, Allen, 77
Thornhill, Roger, 50
Time, 109
Title sequence, 40, 49, 50, 52, 53,
59, 70
To Catch a Thief, 108
To Lay a Ghost, 85
Toilet, 53, 55
Tolman, Edward C., 116
Tomasini, George, 1
Tomlinson, Doug, 28
Topographagnosia, 121
Torrance, Jack, 85, 86, 88, 91,
106, 107, 109, 111, 113,
117, 119, 120
Tragedy, 101
Trauma, 6, 31, 33, 34, 89, 110
Treisman, Anne M., 102
Trosman, Harry, 33, 34
Truffaut, François, 4, 24, 28, 31, 51,
53, 55, 63, 65, 66, 72
Trumpener, Katie, 32, 39
Turntable, 95, 97, 99, 101
Tversky and Kahneman, 60
Twin Peaks, 5, 95, 96, 99, 106, 108
2001: A Space Odyssey, 7
U
Ullman, Stuart, 86, 88, 91, 107,
111, 117
Uncanny, 6, 38, 111, 114, 115, 116,
118, 121
Un chien andalou, 57, 89, 90
Unkrich, Lee, 107
V
Valdes, Carlotta, 25, 40, 72
Van Goens, General Ryklof, 78
Van Gogh, Vincent, 10
Vanloo, Carle, 27
Van Oorsouw and Merckelbach, 112
Vertigo, 3, 4, 5, 6, 18, 21, 23, 24, 25,
27, 28, 29, 31, 32, 33, 34, 35, 36,
37, 39, 40, 41, 43, 44, 45, 46, 49,
50, 51, 52, 53, 57, 58, 59, 60, 63,
 INDEX 155

66, 68, 70, 72, 75, 76, 81, 85, 88, Wise, Ray, 96
89, 91, 92, 95, 97, 99, 100, 104, Wollen, Peter, 34
106, 108, 109, 114, 115, 117, Wood, David, 17
119, 120, 121, 123, 124 Wood, Midge, see Midge
Vertigo effect, 59 Wood, Robin, 24, 33, 50, 83, 110
Visibility, 13, 16 Wordplay, 52
Visual culture, 4, 12, 13 Work, 2, 8, 9, 10, 11, 12, 18, 19, 20,
Visuality, 13, 15, 16 23, 24, 27, 28, 29, 30, 31, 33, 34,
Visual turn, 12 36, 38, 45, 58, 60, 62, 70, 78, 86,
Voyeur, 37, 38 91, 96, 98, 99, 104, 105, 107,
110, 116, 119
Wrong, 8, 11, 26
W
Walker, 34, 113
Webster, Patrick, 85, 86, 119 Z
White, Susan, 38, 61, 66 Zabriskie, Grace, 97
Whitney, John, 49 Zacks, Samuel J. and Ayala, 105
Wilson, 58, 103 Žižek, Slavoj, 5, 8, 39, 44, 46, 64, 65,
Wisecracks, 63 69, 70, 71, 112