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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
Parting ways with the Freudian and Lacanian readings that have
dominated recent scholarly understanding of Hitchcock, David
Humbert examines the roots of violence in the director's narratives
and finds them not in human sexuality but in mimesis. Through an
analysis of seven key films, he argues that Girard's model of
mimetic desire - desire oriented by imitation of and competition
with others - best explains a variety of well-recognized themes,
including the MacGuffin, the double, the innocent victim, the wrong
man, the transfer of guilt, and the scapegoat. This study will
appeal not only to Hitchcock fans and film scholars but also to
those interested in Freud and Girard and their competing theories
of desire.
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