In Defense of the Representation of Sexual Violence in Frenzy

by Qi Wu When Hitchcock’s Frenzy was released in June 1972, the film about a serial killer lurking in London raping and strangling women stirred up waves of controversy for its bold visual representation of sexual violence, especially in the scene where the killer Bob Rusk (Barry Foster) rapes and strangles Brenda Blaney (Barbara Leigh-Hunt)... Continue Reading →


The Trouble with “The Trouble with Harry”

by Ellery LeSueur The Trouble With Harry (1955) opens with a white church steeple, rolling hills, and the blazing autumn colors of a peaceful Vermont town. So, naturally, I was on the edge of my seat.  Whenever you see an idyllic little town in a Hitchcock film, you can be certain of one thing: whatever gentle... Continue Reading →

Shifting Sympathies in Rebecca

  by Ellery LeSueur Hitchcock’s Rebecca (1940) is a chilling account of a naive woman haunted by the ghost of her husband’s dead first wife. After being initially drawn to the vulnerability of Joan Fontaine’s character through the effects of production design and the character’s actions, I found my sympathies extend to Laurence Olivier’s previously... Continue Reading →

Spellbound by “Spellbound”

by Ellery LeSueur Alfred Hitchcock's Spellbound (1945) is a love story about a girl who can't help but fall in love with a man who may be a murderer. The theme of the illogical nature of love, and how that can be dangerous when you've got a murderer on the loose, is one of my... Continue Reading →

Hitchcock/Truffaut Helps Explain Hitchcock/Fincher

By Akash Shetye David Fincher speaks about Hitchcock’s influence on him in Kent Jones’ Hitchcock/Truffaut. Image Credit to Indiewire   The least surprising moment in Kent Jones’ new documentary, Hitchcock/Truffaut, is when David Fincher sings the praises of Alfred Hitchcock. Just last January, Fincher showed how big of a Hitchcock fan he is when he... Continue Reading →

A Rear Window to Problems in the Modern Society

by Qi Wu As the famous Hitchcock critic Robin Wood says, “Rear Window (1954) is perhaps the first of Hitchcock’s films to which the term masterpiece can reasonably be applied”. It is my favorite Hitchcock’s movie as well—the manifestation of “pure cinema”* is just brilliant! Although the whole movie takes place in a confined setting, its... Continue Reading →

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