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"First published in 1988, The Women Who Knew Too Much remains a classic work in film theory and criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic Master of Suspense. This new edition features a new chapter which considers the last 15 years of Hitc."
"A travers l'étude de sept films importants d'Alfred Hitchcock, Chantage, Meurtre, Rebecca, Les enchaînés, Fenêtre sur cour, Vertigo et Frenzy, l'auteur analyse la position du cinéaste vis-à-vis du féminisme, son opinion sur la construction sociale et psychologique des identités et des rapports de sexe."
"The first book to approach Hitchcock's films from a feminist point of view. Applying the theories of psychoanalysis, mass culture, and a broad range of film and feminist criticism, Modleski offers compelling reading of seven Hitchcock films from various periods in his career."@en
"First published in 1988, The Women Who Knew Too Much remains a classic work in film theory and criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic Master of Suspense. This new edition features a new chapter which considers the last 15 years of Hitchcock criticism as it relates to the ideas in this landmark book."
"Discusses the roles of women in the films Blackmail, Murder!, Rebecca, Notorious, Rear window, Vertigo, and Frenzy."
"A travers l'analyse détaillée de sept films phares (Chantage, Meurtre, rebecca, Les Enchaînés, Fenêtre sur cour, Vertigo et Frenzy), l'auteur montre que le propos d'Hitchcock concerne la construction sociale et psychologique des identités et des rapports de sexe, et que sa capacité à s'identifier et à nous faire nous identifier à des protagonistes aussi bien masculins que féminins exprime l'ambivalence fondamentale de son rapport aux femmes. Ni misogyne, ni féministe, Hitchcock nous émeut parce qu'il nous renvoie à nos propres contradictions et à nos propres souffrances."

genre

http://schema.org/genre

"Criticism, interpretation, etc"
"Criticism, interpretation, etc"@en
"Electronic books"
"Electronic books"@en
"Ressource Internet (Descripteur de forme)"
"Livre électronique (Descripteur de forme)"

name

http://schema.org/name

"Hitchcock et la théorie féministe : les femmes qui en savaient trop"
"The Women Who Knew Too Much Hitchcock and Feminist Theory"
"The women who knew too much"@en
"The women who knew too much"
"The women who knew too much : Hitchock and feminist theory"
"The Women Who Knew Too Much - Hitchcock and Feminist Theory"
"Hitchcock et la théorie féministe les femmes qui en savaient trop"
"Women who knew too much : hitchcock and feminist theory"@en
"The women who knew too much Hitchcock and feminist theory"@en
"The women who knew too much : Hitchcock and the feminist theory"@en
"The women who knew too much : Hitchcock and feminist theory"
"The women who knew too much : Hitchcock and feminist theory"@en
"The women who knew too much : Hitchcock and Feminist theory"@en
"Yǒnghwa yǒsǒng kapuchangchechǒk muǔlsik nǒmu mani Alattdǒn Hich'ik'ok"

workExample

http://schema.org/workExample