Through the Camera Hole

This book explores a recurring pattern of Carrollian motifs from Alice's Adventures in Wonderland and Through the Looking Glass, and What Alice Found There in three Alfred Hitchcock movies: Rebecca, Notorious, and Psycho. Alfred Hitchcock's cinematic oeuvre will be argued to be full of such Carrollian elements as dreams, falls, doors, and identity puzzles. Not only are they part of the director's iconography, but they also immerse the audience in the cinematic world and enhance psychological intensity. By examining the Carrollian elements in Hitchcock's movies through various cinematic techniques, this research seeks to offer a fresh perspective on Hitchcock studies. The Hitchcarrollian relationship will be defined in terms of adaptation studies as the most suitable framework to bridge Carroll and Hitchcock as representatives of literature and film, respectively. Additionally, this book is also interested in how Carrollian motifs, representing the "Hitchcockian unconscious" as a Victorian child, intertwine with his composite nationality within the framework of transnational studies.

Autorentext

Savekina Svetlana is now officially graduated from the University of Graz with an M.A. in English and American studies. Her academic interest in film analysis evoked during the attendance of the seminars held by Prof. Stefan Brandt who, consequently, became her supervisor.

Klappentext

This book explores a recurring pattern of Carrollian motifs from Alice's Adventures in Wonderland and Through the Looking Glass, and What Alice Found There in three Alfred Hitchcock movies: Rebecca, Notorious, and Psycho. Alfred Hitchcock's cinematic oeuvre will be argued to be full of such Carrollian elements as dreams, falls, doors, and identity puzzles. Not only are they part of the director's iconography, but they also immerse the audience in the cinematic world and enhance psychological intensity. By examining the Carrollian elements in Hitchcock's movies through various cinematic techniques, this research seeks to offer a fresh perspective on Hitchcock studies. The Hitchcarrollian relationship will be defined in terms of adaptation studies as the most suitable framework to bridge Carroll and Hitchcock as representatives of literature and film, respectively. Additionally, this book is also interested in how Carrollian motifs, representing the "Hitchcockian unconscious" as a Victorian child, intertwine with his composite nationality within the framework of transnational studies.