Alfred Hitchcock’s Psycho and Taxidermy: Fashioning Corpses
Autor Subarna Mondalen Limba Engleză Hardback – 21 feb 2024
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Specificații
ISBN-13: 9798765101186
Pagini: 168
Ilustrații: 10 bw illus
Dimensiuni: 152 x 229 mm
Greutate: 0.4 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Pagini: 168
Ilustrații: 10 bw illus
Dimensiuni: 152 x 229 mm
Greutate: 0.4 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
Provides an overview of the history and practice of taxidermy and how it contributes to the genre of horror films
Notă biografică
Subarna Mondal is Assistant Professor in the Department of English at The Sanskrit College and University Kolkata, India. The author has completed her PhD from Jadavpur University, Department of Film Studies, India. Her areas of interest include late-Victorian Gothic literature, the Gothic on screen, and the films of Alfred Hitchcock. She has been teaching English literature to undergraduate and postgraduate students for the past 14 years.
Cuprins
List of Figures Acknowledgments Introduction: "Live forever by dying today": Taxidermy, Corporeal Gothic, and Alfred Hitchcock's Psycho Chapter 1: Speciesism and Sexism: Norma Bates and Her Victorian Predecessors Chapter 2: Norma's Home and Norman's Diorama: Taxidermy, Longing, and Nostalgia Chapter 3: Illusory Souvenirs: Memory, Beauty, and Hitchcock's Women in Psycho, Vertigo, The Birds, and Marnie Chapter 4: Hitchcock's Installation: Psycho's Shower Stabbing, Frenzy's Serial Strangling, and the Beginning of Slashers Chapter 5: Fellow-stuffers: Post-Psycho Body Horrors Bibliography Index
Recenzii
No one watching Psycho can fail to be creeped out by the stuffed and mummified beings Norman Bates surrounds himself with. But Subarna Mondal's extensively researched and endlessly provocative study Alfred Hitchcock's Psycho and Taxidermy: Fashioning Corpses deepens our understanding of the resonant rightness of Norman's avocation that, alas, perfectly represents a disturbing notion of what it is to be human. Mondal expertly surveys the cultural and psychological filiations of taxidermy in the Victorian world that Hitchcock came from, the modern world he inhabited, and the postmodern world he foresaw, and it now unforgettably demands our attention as a particularly revealing specific and synecdochic dark art investigated, portrayed, and practiced by one of our darkest cinematic artists.
Subarna Mondal's analysis of Taxidermy in relation to Hitchcock's films is quite engaging and a departure from conventional Hitchcock studies. The culture of taxidermy or any other ritual which evokes 'mummy complex' is central to the realism of photographic images. What makes Subarna Mandal's thesis more meaningful is positioning her look around the basic Oedipal form of the narrative to accommodate a kind of litterariness available in fictional representations. By locating Psycho's cruelty and violence inside the broad domain of Gothic tradition of literature, she has tried to rescue and rehabilitate Norman Bates, apparently a psychotic Mama's boy, outside the territory of a morbid horror film. The author develops a deep structural link operating through generic differences of written words and audio-visual images. It is for this perspective that the montage representation becomes an 'otherness' and generates a typical category of 'literary montage'. What was destined to become a brilliant thriller, contests and alters its position and turns into a symbolic attestation of 'sickness' of contemporary civilization. Subarna Mondal's argument helps us to navigate through the philosophy of crime which began in Crime and Punishment so prophetically described by Dostoevsky. A commendable signature of scholarship, the thesis on taxidermy in Hitchcock films reconsiders the location of scopophilia in the modern paradox. Lucid enough for a good read, this book may is a significant addition to the world of film and culture studies.
Subarna Mondal's analysis of Taxidermy in relation to Hitchcock's films is quite engaging and a departure from conventional Hitchcock studies. The culture of taxidermy or any other ritual which evokes 'mummy complex' is central to the realism of photographic images. What makes Subarna Mandal's thesis more meaningful is positioning her look around the basic Oedipal form of the narrative to accommodate a kind of litterariness available in fictional representations. By locating Psycho's cruelty and violence inside the broad domain of Gothic tradition of literature, she has tried to rescue and rehabilitate Norman Bates, apparently a psychotic Mama's boy, outside the territory of a morbid horror film. The author develops a deep structural link operating through generic differences of written words and audio-visual images. It is for this perspective that the montage representation becomes an 'otherness' and generates a typical category of 'literary montage'. What was destined to become a brilliant thriller, contests and alters its position and turns into a symbolic attestation of 'sickness' of contemporary civilization. Subarna Mondal's argument helps us to navigate through the philosophy of crime which began in Crime and Punishment so prophetically described by Dostoevsky. A commendable signature of scholarship, the thesis on taxidermy in Hitchcock films reconsiders the location of scopophilia in the modern paradox. Lucid enough for a good read, this book may is a significant addition to the world of film and culture studies.