히치콕의 영화에서 그려지고 있는 감시, 스펙터클, 그리고 서스펜스: 미국 맥카시즘에 대한 알레고리적 읽기

Abstract

Generally, critics see Hitchcock’s film journey as its highest peak during his ten years of producing Rear Window in 1953 and Marnie in 1963. Unfortunately, this period overlaps with McCarthyism and the aftermath of the Cold War in America. Hitchcock’s Rear Window (1954), a canonical example of surveillance narratives, reflects political issues at the time of film production; The Wrong Man (1956) deals with forced confessions, surveillance and punishment in the 1950s; and The Birds (1963) takes issues of McCarthyism allegorically but more acutely. In this context, this paper investigates the topic of surveillance and censorship, through Hitchcock’s Rear Window, The Wrong Man, and The Birds, and examines Hitchcock’s thematic challenges to what we see in the cinema.