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049    MAIN 
050  4 PN1998.3.H58|bW35 2005eb 
072  7 PER|x004010|2bisacsh 
072  7 AT|2bicssc 
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082 04 791.43/0233/092|222 
100 1  Walker, Michael.|0http://id.loc.gov/authorities/names/
       n2016003867 
245 10 Hitchcock's motifs /|cMichael Walker. 
264  1 Amsterdam :|bAmsterdam University Press,|c2005. 
300    1 online resource (490 pages) :|billustrations. 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
340    |gpolychrome|2rdacc|0http://rdaregistry.info/termList/
       RDAColourContent/1003 
347    data file|2rda 
490 1  Film culture in transition 
504    Includes bibliographical references (pages 421-429), 
       filmography (p. 431-462) , and index. 
505 00 |gPart I.|tHitchcock, Motifs and Melodrama.|tIntroduction 
       --|tThree motifs.|tHome movies --|tCigarette case/lighter 
       --|tMilk --|tMelodrama and Hitchcock's motifs --|tAn 
       elaborated motif: the Bed Scene in Rebecca and Marnie --
       |tA melodramatic motif: hands --|tDiagrammatic 
       representations --|tOverview of the key motifs --|gPart 
       II.|tThe Key Motifs.|tBED SCENE --|tCouples and beds --
       |tBeds and the police --|tBLONDES AND BRUNETTES --|tCAMEO 
       APPEARANCES --|tCameos and the police --|tCHILDREN --
       |tChildren's cameos --|tFamily members --|tChildren and 
       violence --|tChildren and the police --|tCONFINED SPACES -
       -|tBathrooms and washrooms --|tConfinement and concealment
       --|tCages and bars: fears of imprisonment --|tWashrooms 
       and the police --|tTHE CORPSE --|tThe heroines --|tThe 
       heroes --|tThe villains --|tCorpses and the police --
       |tDOGS AND CATS --|tDogs and the police --|tDOUBLES --
       |tDoubles and the police --|tENDINGS AND THE POLICE --
       |tENTRY THROUGH A WINDOW --|tEntry through a window and 
       the police --|tEXHIBITIONISM / VOYEURISM / THE LOOK --
       |tEXHIBITIONISM / VOYEURISM --|tSPY FILMS / THE LOOK --
       |tExhibitionism, voyeurism and the police --|tFOOD AND 
       MEALS --|tFood and marriage --|tFood and sex --|tFood and 
       murder --|tFood and guilt --|tChickens and eggs --|tTable 
       talk and fascism --|tFood and the police --|tGUILTAND 
       CONFESSION --|tCatholic overtones --|tGuilt and 
       Hitchcock's villains --|tTransference of guilt --|tGuilt, 
       confession and the police --|tHANDCUFFS AND BONDAGE --
       |tHANDS --|tMale hands/female hands --|tHeld wrists --
       |tDamaged hands --|tHolding hands --|tHands and the police
       --|tHEIGHTS AND FALLING --|tHeights, falling and the 
       police --|tHOMOSEXUALITY --|tCritical positions --|tGay 
       undercurrents --|tEspionage and the look --|tIvor Novello 
       --|tHomosexuality and the police --|tJEWELLERY --|tGreed -
       -|tStatus --|tFemale desire --|tFemale beauty/male power -
       -|tMale murderousness --|tJewellery and the police --
       |tKEYS AND HANDBAGS --|tKEYS --|tKeys and handbags --
       |tHANDBAGS --|tHandbags and keys --|tKeys, handbags and 
       the police --|tLIGHT(S) --|tVampires and blinding --
       |tMurder and homosexuality --|tLights and the police --
       |tTHE MACGUFFIN --|tThe MacGuffin and the police --
       |tMOTHERS AND HOUSES --|tMothers and the police --
       |tPORTRAITS, PAINTINGS AND PAINTERS --|tPORTRAITS --
       |tPAINTINGS --|tModern art --|tPAINTERS --|tPortraits, 
       paintings and the police --|tPUBLIC DISTURBANCES --
       |tPublic disturbances and the police --|tSPECTACLES --
       |tSpectacles and the police --|tSTAIRCASES --
       |tHitchcockian levels --|tPolitical variations --
       |tSinister staircases --|tFreudian overtones --|tCouples 
       and staircases --|tStaircases and the police --|tTRAINS 
       AND BOATS / PLANES AND BUSES --|tTRAINS --|tBOATS --
       |tPLANES --|tBUSES --|tTrains and boats and the police --
       |tWATER AND RAIN --|tWATER --|tRAIN --|tWater and the 
       police --|gAppendix I:|tTV Episodes.|tBED SCENE --
       |tCHILDREN --|tCONFINED SPACES --|tTHE CORPSE --|tDOUBLES 
       --|tFOOD AND MURDER / ENDINGS AND THE POLICE --|tLIGHTS --
       |tBOATS --|gAppendix II:|tArticles on Hitchcock's motifs -
       -|gAppendix III:|tDefinitions.|tDiegesis --|tPoint-of-view
       editing. 
520    Hitchcock's work through his recurring motifs. 
546    English. 
588 0  Print version record. 
600 10 Hitchcock, Alfred,|d1899-1980|0http://id.loc.gov/
       authorities/names/n79027022|xCriticism and interpretation.
       |0http://id.loc.gov/authorities/subjects/sh99005576 
650  0 Motion pictures|xPlots, themes, etc.|0http://id.loc.gov/
       authorities/subjects/sh85088103 
653    Multi-User. 
776 08 |iPrint version:|aWalker, Michael.|tHitchcock's motifs.
       |dAmsterdam : Amsterdam University Press, 2005|z9053567720
       |z9053567739|w(OCoLC)62768303 
830  0 Film culture in transition.|0http://id.loc.gov/authorities
       /names/n94045741 
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