Abstract
This chapter analyses the films of Alfred Hitchcock in the light of ‘a pedagogy of cinema’, and explains how Hitchcock’s images construct meaning in their very movement and passing. The argument in this chapter is that Hitchcock is better interpreted without a singular, obsessive focus on his Catholic background, his larger than life personality, without ad hominem recourse to concepts such as original sin, a guilty subject or a God demanding retribution (Deleuze, 1986).
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Cole, D.R., Bradley, J.P.N. (2016). Semio-Materialism and the Master of Relations. In: A Pedagogy of Cinema. SensePublishers, Rotterdam. https://doi.org/10.1007/978-94-6300-555-5_5
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DOI: https://doi.org/10.1007/978-94-6300-555-5_5
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