The Women Who Knew Too Much: Hitchcock and Feminist Theory

@inproceedings{Modleski1988TheWW,
  title={The Women Who Knew Too Much: Hitchcock and Feminist Theory},
  author={Tania Modleski},
  year={1988}
}
Tania Modleski claims that critical approaches to Hitchcock have falsely fallen into two camps: either he is seen as a misogynist, or he is seen as sympathetic to women in his demonstration of women's plight in patriarchy. In opposition to these positions, Modleski asserts that Hitchcock is ambivalent towards his female characters. Applying the theories of psychoananlysis, mass culture, and a broad range of film and feminist criticism, Modleski presents careful and fascinating readings of seven… 
Remastering the Master: Hitchcock after Feminism
Abstract:The essay examines the work of several prominent scholars of Alfred Hitchcock films and argues that the political ground staked out by queer and feminist critics of these films has become
Shot/Countershot: An Intertextual Approach to Women's Cinema.
canon, rereading them for their patriarchal assumptions?a discourse previously masked by traditional scholarship. Other critics have found it equally fruitful to address the male-authored classics
Female paranoia as survival skill: Reason or pathology in a nightmare on Elm street?
Horror films have been traditionally theorized as one of the most blatantly misogynistic cinematic genres. Numerous commentators have noted that the genre is littered with female corpses, and that
Complicating the theory of the male gaze: Hitchcock’s leading men
Abstract This essay seeks to complicate Mulvey’s argument regarding the active/male gaze—passive/female subject in mainstream cinema by looking at how individual movie stars may complicate this power
New Girls and Bandit Brides: Female Narcissism and Lesbian Desire in Margaret Fuller’s Summer on the Lakes
In July 1843, Margaret Fuller published her essay "The Great Lawsuit. Man versus Men. Woman versus Women" in the Dial, the major transcendentalist magazine, of which she was one of the editors; she
No Business Like Schmo Business: Reality TV and Fetishistic Inversion
Since Laura Mulvey (1975) posed the pivotal question of whether female spectators could avoid the patriarchal temptations prompted by the realist conventions of mainstream cinema, feminist film
Building the feminine: Feminist film theory and female spectatorship
Mary Ann Doane, The Desire to Desire: The Woman's Film of the 1940s, Macmillan Press, 1987; Deirdre Pribram (ed.), Female Spectators: Looking at Film and Television, London and New York, Verso, 1988.
The Death-Mother in Psycho: Hitchcock, Femininity, and Queer Desire
Alfred Hitchcock’s film Psycho (1960) is a significant work on many levels—to Hitchcock’s career, to film history, to the horror genre. I propose that a crucial aspect of Psycho’s design, one that
Gay men on film: A typology of the scopophilic consumption pleasures of cultural text
In this paper, drawing on feminist film criticism, cultural theory, and reader response criticism, I discuss the consumption experience of viewing in the context of the analysis and interpretation of
Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis
The Gothic woman's film, as a particular 1940s phenomenon, responded to the social changes caused by the upheavals of the Second World War. It featured female protagonists, expressed anxieties about
...
...