Hitchcock and Point of View:

The Narrational Situation






1. Cf. Robert E. Kapsis, Hitchcock: The Making of a Reputation (Chicago: University of Chicago Press, 1992).


2. Francois Truffaut, Hitchcock (New York: Simon and Schuster, 1967), 227.


3. Ibid., 227-30.


4. Ibid., 228.


5. Screen 16 no. 3 (Autumn 1975): 6-18.


6. Ibid., 13-14.


7. Ibid., 14.


8. Ibid., 14.


9. Ibid., 15.


10. Raymond Bellour, "Hitchcock, The Enunciator," Camera Obscura 2 (Fall 1977): 66-91.


11. Ibid., 73.


12. Ibid., 73.


13. Ibid., 73.


14. Tania Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Methuen, 1988).


15. Ibid., 1.


16. Ibid., 3.


17. Ibid., 13.


18. Gerald Prince, A Dictionary of Narratology (Lincoln: University of Nebraska Press, 1987), 31.



19. Edward R. Branigan, Point of View in the Cinema (New York: Mouton Publishers, 1984).


20. Ibid., 103.


21. Ibid., 111-119.


22. Bellour, 70.


23. Meir Sternberg, Expositional Modes and Temporal Ordering in Fiction (Baltimore: Johns Hopkins University Press, 1978), 94.


24. See Raymond Bellour, "To Analyze, To Segment," Quarterly Review of Film Studies 1, no. 3 (August 1976): 331-353.


25. Marnie's punishment seems to extend only as far as the anguish associated with her illness and the nightmare of reliving the traumatic murder she committed. This is scant discipline when compared, for example, to the brutal shower murder of Marion Crane in Psycho, which happens even after she has renounced her crime and decided to return the money she stole.



26. Kapsis, 67.






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