Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. This entry was posted in Uncategorized by Ian P. As Hitchcock describes his films more dreamlike than plausible, and dreams in psychoanalysis are a means to express unconscious, and usually reprehensible ideas, maybe the plot holes that initially pass beneath the viewers consciousness, are a facilitation of expressing the unseen destructiveness of the institution of family. These cracks within a seemingly airtight narrative, are tantamount Hitchcock’s exploration of family, an institution we view as the bedrock of society, yet hides pernicious cracks in its ideologies.
How and why would police follow a suspect from New York to California if they don’t know what he looks like? Why would they suspect Uncle Charlie if they don’t know what the killer looks like? When the detectives arrive in Santa Rosa, why do they wait outside the Newton’s house for weeks and why do they use the cover of taking photographs of Americans’ bed rooms? What family would believe that? Since the plot revolves around Young Charlie’s suspicion of Uncle Charlie and his cloddish attempts to murder her, which for some reason doesn’t heighten the suspicion of the detectives surveilling, this creates an air of absurdity uncertainty that taints the seemingly perfect Santa Rosa. As in the 39 Steps and most of his other movies, the plot of Shadow of a Doubt takes a backseat to the story, ideas and themes Hitchcock is trying to convey. Released in 1943, Shadow of a Doubt explores qualms of the American family institutions through the eyes of Young Charlie.
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