HITCHCOCK’S WOMEN: A Life with No Exits: Cycles of Trauma in MARNIE (1964) – Part II

Rebecca McCallum concludes her analysis here on the character of Marnie, as part of our HITCHCOCK’S WOMEN series. Please note: the following article includes discussions of rape and sexual assault. Holding the Reins Unable to fight off her compulsion to steal, shortly after meeting Mark (Sean Connery) Marnie (Tippi Hedren) commits a robbery at his publishing firm.Continue reading “HITCHCOCK’S WOMEN: A Life with No Exits: Cycles of Trauma in MARNIE (1964) – Part II”

HITCHCOCK’S WOMEN: A Life with No Exits – Cycles of Trauma in MARNIE (1964) – PART I

Rebecca McCallum continues her series of deep dives into the leading ladies in the films of Alfred Hitchcock. Please note: the following article includes discussions of rape and sexual assault. Who is Marnie Edgar (Tippi Hedren) and what traumatic and damaging secrets are buried deep within her? An often problematic – yet equally fascinating meditationContinue reading “HITCHCOCK’S WOMEN: A Life with No Exits – Cycles of Trauma in MARNIE (1964) – PART I”

HITCHCOCK’S WOMEN: The World Beyond the Window – Lisa Fremont in REAR WINDOW (1954) – PART II

Continuing our Hitchcock’s Women series, Rebecca McCallum concludes her two-part analysis of Lisa Fremont in Rear Window. An Expert in the Field: Sleuthing About A pivotal moment in the film occurs when Lisa spots Thorwald – the neighbour who Jeff suspects of murdering his wife – tying up a suitcase with rope and for the first timeContinue reading “HITCHCOCK’S WOMEN: The World Beyond the Window – Lisa Fremont in REAR WINDOW (1954) – PART II”

HITCHCOCK’S WOMEN: The World Beyond the Window – Lisa Fremont in REAR WINDOW (1954) – PART I

Rebecca McCallum continues her series of deep dives into the leading ladies in the films of Alfred Hitchcock. On the surface, Rear Window (based on short story It Had to be Murder by Cornell Woolrich) appears to be a light-hearted tale of crime and mystery mixed with a frothy and charming romance. However, underneath lurksContinue reading “HITCHCOCK’S WOMEN: The World Beyond the Window – Lisa Fremont in REAR WINDOW (1954) – PART I”

HITCHCOCK’S WOMEN: A Woman with Broken Wings – Melanie Daniels in THE BIRDS (1963) – PART II

Continuing our Hitchcock’s Women series, Rebecca McCallum concludes her two-part analysis of Melanie Daniels in The Birds. The Boy Is Mine: Melanie and Annie School teacher Annie, whom Melanie both confides in and has conflict with throughout the film, stands in contrast to her character but also serves as a potential forecast of the lifeContinue reading “HITCHCOCK’S WOMEN: A Woman with Broken Wings – Melanie Daniels in THE BIRDS (1963) – PART II”

HITCHCOCK’S WOMEN: A Woman with Broken Wings – Melanie Daniels in THE BIRDS (1963) – PART I

Whilst The Birds is often lauded for its technical feats and set pieces involving flocks of winged assailants, underneath all this Hitchcock offers another complex character study, this time of Melanie Daniels (Tippi Hedren), a San Francisco socialite who undergoes a monumental journey over the course of the film. We see her begin as aContinue reading “HITCHCOCK’S WOMEN: A Woman with Broken Wings – Melanie Daniels in THE BIRDS (1963) – PART I”

HITCHCOCK’S WOMEN: Constructing and Resurrecting the Ideal Woman – A Portrait of Judy Barton in VERTIGO (1958) – PART II

Concluding her two-part analysis, Rebecca McCallum continues her investigation into the representation of gender in Hitchcock’s Vertigo. Power and Possession Scottie believes he is following Madeline without her knowledge, but in actual fact she is leading him, albeit under the direction of Elster. On one occasion he follows her to a graveyard, linking Judy toContinue reading “HITCHCOCK’S WOMEN: Constructing and Resurrecting the Ideal Woman – A Portrait of Judy Barton in VERTIGO (1958) – PART II”

HITCHCOCK’S WOMEN: Constructing and Resurrecting the Ideal Woman – A Portrait of Judy Barton in VERTIGO (1958) – PART I

In the first of a new regular series Rebecca McCallum investigates gender in the films of Alfred Hitchcock, beginning with a two-part analysis of the incomparable Vertigo. A psychological vortex with no resolution, Vertigo is an intoxicating exploration of love, obsession and the unobtainable. Set amongst the cultural landmarks of San Francisco, retired detective ScottieContinue reading “HITCHCOCK’S WOMEN: Constructing and Resurrecting the Ideal Woman – A Portrait of Judy Barton in VERTIGO (1958) – PART I”