Yo
Wa As
We Hi
Edited by SLA
ZIZEK
VERSO
A lw lw a
In iv dual dual hapt hapter er cont cont ibut ibutor or Al righ rights ts rese reserv rved ed Verso
ISB 0-8609 0-86091-3 1-39494ISBN ISBN 0-86 0-8609 0911-59 5922- (pbk (pbk Brit Britis is
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at
Data Data
Contents
INTRODUCTION
Historical Mediatio
M la d North
PART
11
Hitchcockian
Do
Slavoj
31
l C PARTIII
he Individual
it
cock's
iv rs
Slaooj
The
Index
Sources
Ca
ma C a h e r d u c in em a ,
Pascal Bonitzer's 'Notorious'
Cahiers
ma
in C ah ie r d u c in em a uly-
ii
INTRODUCTION
he ve
a tu s o f n te rp re ta t o n
Wa
commentary. objects p a
nc Ru
mi
or
La
INTRODUCTION
sinthom;
th point!
menon p a r e xc e e nc e a f c io na do s e ve ry th in g h a meaning
hi
with refere ce
a va n th tria realis -m
erni m- ostmoderni
auteurs
a l h re e
great auteurs
is
Ca
ma
and
Hi
iffere tiatin
it fi
peri
Th
s:
Ni
Lodger
P sy ch oS )
on
retroactive
Th
to
Oedipal s to r o f h e c ou p e '
n i a to r
o ur ne y
INTRODUCTION
Th
Th
y -N in e
Th
T h i y -N in e
Steps)
re
Mag
Steps, To
F lu te . Th
Se
Ag nt
no Sabotage,
Rebecca to U n de r C a p c o n :
mpo en
o b c en e b ro ke n
p a e rn a
gu e.
fa
in Sabotage, Foreign Correspondent Charlie, di ided
Notorious,'
Rope:
teaching.
The
Train to Birds:
Re u pe re g b lo ck s a cc e Train,
Wi
no mal
e xu a
to Psycho, etc.), thematically e la t o n
Wi Psycho,
St ng No
Th
Bi
in F re n y ) Mamie Mamie,
in
Frenzy, F am i
Pl
No we -m rd
INTRODUCTION
object, in
sj fi
Th Th La
F o e ig n C o e sp on d n t Notorious,
indifferent,
Notorious and
and Rear
Murder, Window,
Tr
r-
which th
er be inning
rt
Train
Th Mamie,
in Blackmail
Saboteur Nor
by Nor hwe
sible jouissance.
Encore,
10
Imaginary
v~
Bi
for
INTRODUCTION
ob
he ym ol
pe
a,
stru ture
jouissance.
work:
Th Steps
La
Th
Va
Notorious, etc.);
y -N in e
nership."
La
Fo pondent,
gn Co Notor-
R eb ec c Suspicion,
INTRODUCTION
Vertigo, Psycho).
aficionados
sistencies etc. n o d up e
nt
Notes g na t
duce o rd r r a s on n Godfather
Go bricolage
10
of he Vi bl
New
trilogy: F a
me
Wi
Bl
Ve
Th
tria
realism-modernism-
F a ta l A tt ra ct io n om
Wi d,
Bl
on 'postmodernism' 2. It ment",
Ve
'image-mouoe'image-temps': 'Ie
'image-mouoement'
Pourparlers,
Hi
Re
Hollywood. ever in common
Awakenings and D a wi Wo te ms of ts 'o fici l' conten
Awakenings
is
produced. In D a
wi
Wol
m, Th
11
Mu
Ga
INTRODUCTION Th
y -N in e S te p T ou n
In
an
I nn oc en t
La U n de r C a pr ic or n
an
nc
gu
which
Popula Culture
swh Vertigo' (to
N am i
Ne Le
1975,
mi
XX
83. Th
bl me Ob
L o ok in g A w ry . gn
Vi bl
gy
Themes
Intolerance or wd
Intolerance,
ri ci le
ed ting
15
( L e S ta rs )
16
haragei,
auteur. Gesture, concentratio agei)
neutral.i
17
[har-
programme).
proves.
18
is
fiction."
19
stain stain.'
ag Re
Fr gh
Suspicion,
Wi North
Northwest,
because,
tr in to 'eli inate' In Wi
Foreign Corresponden was
Foreign Correspondent
Ha
Hitch-
(from
Vanishes
to Notorious)
If,
In events."
Sabotage, fo example,
reciselyth poin
atch
t! Yo 'r ma in
No Psycho),
ities.
blunder!"?
No
we
inverVertigo) or
Th
y -N i atal promiscuity
perhaps cuffs, Notorious, arriage, T o Mamie, etc.'
Suspicion,
in Notorious Rear Window,
Blackmail,
fascinum,
Wi
temporary menage ious,
trois',
NotorNotorious,
It temporary menage
trois. II
menage
trois'; finally, th
North Northwest
observes:
by
Notorious,
To No
we Saboteur),
arrives
extremis
Blackmail
Psycho,
rt
tagi
of inestima le importance
Notes Cahiers
1.
C ah ie r d u
n em a
n em a 3 10 . 1980.
T or n C ur ta in , Hitchcock, London:
Panther 1969, p. 390). fJ
Re
Wi
265).
Th
pr nk
p r n k e d This Th
wa he wa
Re
Bi
the
Wi
ow Introduction u n ( ve r a b e ) h is to ir e d u c in em a . sensation, Paris: Minuit 1981, p. 24. 5. Gilles Deleuze, F ra nc i B ac on , o g q u d e Maldenves macula, malen, to paint, and Maler, painter. 6.
151
280-87,
th
obsessio
0,
8.
152. 255.
10.
259.
11.
303.
Es hs
12. 13.
ps ho
n em a
Pa is Ed tion
297-8.
C ah ie r d u c in em a , hors-s ri
14.
Hitchcock, Pans 1980. 15.
292:
16.
293.
17. 18.
un versitai es
293-4.
ma
8: Alfred
Fortune,
B nd es he a
R ev is i e d
In
30
Cahiers
it formal construction
pieces:
cinema
fo
r; Merry Widow
othe participants
propeller; mirror-correspondence;
Spoto."
suspect).
citiesi')."
contrary: ever dual ty is
money.
33
The melody, the M e
Wi
fw
Ma
to
La
).
in
disruption. ring. Do
1.
2.
35
In
hi mechanis
know t .
see?'
agalma, agalma M o th e
de
name.
Mamie, Psycho.
hinge.
till
ending.
IT
K'
IlJE IlJE
Pa rici rici in
ge Fr
Hitc Hitc cock cock
Hitc Hitc cock cock's 's
and Psycho),
'wrong
Balestrero,
Decameron, it
it ack' ack'
Dialogues;
Blow-up.
Blow-up
Bruno:
Guy: Bruno:
Guy:
41
42
Hi chcock's
niverse.
North by Northwest is
the
ocia life
hi
ateria
broken.
P un ch l n e A : P un c
B:
No Th
b y N o h we s
Ni
from F o e ig n C o r e sp on de n
films. No orious
Vertigo,
Nort
45
by Northwes
called d a D in g
Notes 1. Cahiers
cinema
p.263. Th
S t a ng e C a
of Al
H i h co c
Lo
sc ip to obviat thos de ic encies Th La
Va Le
transfert,
Lo Culture,
pp.303-24.
La
mi ai
VI
North
by
No
Northwest
by No hwe
some
auure
Th Ni
auteur
Th
Th
is
erel
pop- sych logi al (' at rity ).
auteur
mediation
48
Bi
seen
Th
of Viridiana. North by Northwest,
reactions
North
Northwest, places. The
No
by No
we
Th
Th
against
50
Ni
it
North by Northwest
This acter-development
story story
head-on, into
M,
Th
Vertigo;
public
represen tation
Th
Ni
North
by Northwest
p ou r m em o e , necessary
Notorious,
it,
53
Thornhill: Eve: Thornhill: Eve: Thornhill: Eve:
Realpolitik:
54
'"
. . . . ..
Faretuell,
Lovely,
re ro
ry qu
material analogon 56
Mixed
Gove nmen
,,,'
deal
57
', ',
c on t a r o , North Northwest,
fi
58
never
Vertigo practice
episode,
North Northwest
59
and F am i
Notorious,
P lo t
o u d e o rc e in
Murder
North Northwest,
60
natural
Spellbound).
camera into
again.
61
HE
IVERSAL
position),
NTO
N•
It
North
Northwest.
complete it
it:
63
obtrusivel
as possible.)
Spellbound:
bas-relief 64
TIAL
YSTE
narrative.'
65
concretely problematized.
tzuure, any
malaise,
exactly private
pa
e xc e e nc e
imaginable.
67
might
worry,
North by Northwest mise-en-scene.
within
public pe
(neither public
closed)
both public
pa
xc
nc
ab
ur
No
Th
Thecomfie<,
within No hw
onumen
C I , ~ : ~ ~ r e,.,,,' t
ri
erealization.
Notes 1.
N o i R ea de r
'L Blocag symbolique',
Communications 71
Q u e o n o f C in em a
Videodrome. A ng e u s N ou u
Murder! (1930) an
Stage
Fright
stage in Murder! and
Innocent
is take fro
Shakespeare'
Hamlet.
rl
Murder!
suspension
later. In
part
pr ci el
h e c ur ta i
wh ch
ra
b a a nc e o r
e gu la te s h e
is e la t o n h ip :
Murder!,
76
ristan a n
o ld e
Mark). "semblante' or 'double'
semblante
Rope. 77
Rope
pa
them
78
x ce l e nc e
The Stage
death. M u
and
Confess are
Murder],
acts; s u e t s up po s
a vo ir .
milieu
his stage appearance
It
S ta g
79
Fr gh
death.
Ev
me
ma
overlap,
film. Co
fno
nd
confessional
It
stage
pa
e xc e e nc e
wi
contra t: th co fessio al It
mb
un
of
m.
ep
81
n ta t
of he aw
who
punishment. Play-within-a-Play Hamlet
Hamlet.
on Murderr)
in Hamlet,
Hitchcock's
Murderl.
fictionwi
m om e
wh ef
sf
wi
wn
o w n n te r o r
p a r e xc e e n c that by
d up l c a n g
se
mousetrap
fi
fi
whodunit genre. It
precisely Murder! and S ta g F r g h
theatre'.
we consider Murderl,
It
deduce
Murder! play-scene genre'
surprises
murderer.
Hamlet
Murder!
fascinating.
form
Murder!
-a
tell
-'.9
85
image:
fj
p ro pe r p re se n
Vorstellungs-Reprdsentans;
VorstellungsReprdsentanz: duplicated
own Murder!
Hamlet) Vorstellungs-Reptiisen-
tanz;
reality. Hamlet,
87
silently.
14
Qu
(6-10),
(3-5).
gazes (6-10), camera (11-13).12
an
confusion.
(3-5), (6-11)
Murder! Hamlet Murder! inside,
Hamlet
outside,
of
Murder!
Murder!
analysis. a cc o d an c w i
duty
a cc or da nc e w i
auto-, self-foundation. An
can
p ur po se le s a d
se
Wohl].
pain.
ence.
91
14
