Psycho

In this essay I wish to explore some of the ways in which Hitchcock disturbs our understanding of Psycho through mismatching elements of character, dialogue and mise-en-scene in order to undermine Sigmund Freud’s theories on anal-compulsive behaviour and castration, and then to show how with the removal of generic logic, and the use of techniques developed for television, the director’s devious sense of humour runs riot.

Marginalia hors série no 21: bibliographie internationale des études sur la vie et l'oeuvre d'Alfred Hitchcock. This document is an international basic bibliography of secondary sources on the life and work of filmmaker Alfred Hitchcock

This article uses priming effects to explore Psycho's narrative and visual effects on audiences. By taking into account how audiences had been primed by classical Hollywood films, it shows how Psycho's defiance of classical norms helped pave the way for future films by initiating audiences into a new narrative structure.

An analysis of twentieth century cinema in relation to psychoanalytic film theory.

In this thesis, I focus on the horror monster and the problem of viewing it as either male or female. Through examining Barbara Creed’s concept of the monstrous-feminine, I trace this problem in the serial killer subgenre, specifically in The Silence of the Lambs (Jonathan Demme, 1991) and Red Dragon (Brett Ratner, 2002). Creed’s concept of the monstrous-feminine explains that in horror films the monstrous is constructed as female body’s mothering and reproductive functions. I apply this argument to the representations of the serial killers in aforementioned movies and argue that the character of the monstrous-feminine continues to exist in the representations of these serial killers. In this way, they become feminized monsters.

This thesis is a study of female authorship that examines the feature films of Jane Campion in order to determine how her preoccupation with the cinematic articulation of 'female experience' is expressed in her films.

The Projector: A Journal on Film, Media and Culture

I would thank editorial board member Mark Bernard for co-editing this issue of The Projector; the time and expertise contributed are sincerely appreciated. I also want to thank the many scholars who responded to our call for papers on food, film, and media/consumer culture; additional essays concerning food and film will appear in subsequent issues.