Is Hitchcock a superficial, though brilliant, entertainer or a
moralist? Do his films celebrate the ideal of romantic love or
subvert it? In a new interpretation of the director's work, Richard
Allen argues that Hitchcock orchestrates the narrative and
stylistic idioms of popular cinema to at once celebrate and subvert
the ideal of romance and to forge a distinctive worldview-the
amoral outlook of the romantic ironist or aesthete. He describes in
detail how Hitchcock's characteristic tone is achieved through a
titillating combination of suspense and black humor that subverts
the moral framework of the romantic thriller, and a meticulous
approach to visual style that articulates the lure of human
perversity even as the ideal of romance is being deliriously
affirmed. Discussing more than thirty films from the director's
English and American periods, Allen explores the filmmaker's
adoption of the idioms of late romanticism, his orchestration of
narrative point of view and suspense, and his distinctive visual
strategies of aestheticism and expressionism and surrealism.
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