Alfred Hitchcock's Vertigo and the Hermeneutic Spiral

CONCLUSION

My argument in this book has been that different viewers of a given cultural object will quite typically draw dissimilar conclusions for a set of describable reasons. Using Hitchcock’s Vertigo as my case study, I have attempted to summarize these reasons as both cognitive and cultural. First, a basic cognitive insight is that people quite naturally attend to different details in different sequences. They play current insights against those inspired by other cultural objects, ideologies, social formations, historical accidents and the like, introducing what might be called interpretive distortions. Moreover, human cognition is prone to certain kinds of fallacies, illusions and processing errors, compounding the amendments stimulated by retroactive re-elaborations (i.e., critical iterations and recursions). My central metaphor for this messy process is the hermeneutic spiral, although it would probably be more accurate to refer to spirals, since the neatness of the one image does not resemble the proliferation of diverse opinions that are possible—and highly likely. A slightly less basic cognitive insight is that one can account for the variety of opinions about Hitchcock’s Vertigo by alluding to a selection of psychological phenomena, including anchoring, attentional bias, the availability heuristic, conﬁrmation bias, illusory correlation, naïve realism and the representativeness heuristic. There are many similar, empirically demonstrated biases that would probably add to the insights I have offered here. For example, individual suggestibility—a proneness to replacing real memories with the suggestions of an interlocutor (Gudjonsson and Clare, 1995)—might explain why some

© The Author(s) 2017 123 R.J. Belton, Alfred Hitchcock’s Vertigo and the Hermeneutic Spiral, DOI 10.1007/978-3-319-55188-3 124 CONCLUSION writers have repeated the factual errors of a predecessor, not to mention interpretative distortions that are not, in and of themselves, “factual” (because they are unfalsifiable). Similarly, psychologists know that memory is not an objective record of events but a reconstruction, as if recounting a story that gets better with each telling. Retellings open us up to distortions of memory that researchers have described as “leveling and sharpening,” the gradual fading of some details and their replacement by seemingly more acute ones (Koriat et al., 2000). The Hitchcockian blot described above might be reframed as the isolation (or von Restorff) effect, in which things that “stick out” are more easily recalled than things that do not (Parker et al., 1998). Finally, a curious cognitive bias called the “telescoping effect” offers an interesting but quite accidental similarity to the most distinctive element of Vertigo, its dolly zoom. The telescoping effect is a type of temporal distortion in memory in which subjects think recent events are remote and remote events are recent (Janssen et al., 2006). Second, on the cultural side of the equation, I have attempted to demonstrate that even if you could imagine a group of critics who have no cognitive biases, you would still see interpretative variations in their works because they always see a given cultural object in the light of their interpretations of other cultural objects. Here I have found it useful to deploy Stephen David Ross’s concept of inexhaustibility by contrast, in which things can be arranged in orders to describe the ways they relate to and differ from one another. This sorting gets us thinking about different possibilities of meaning. It seems straightfor- ward to compare Hitchcock’s Vertigo to his other films because that would be an order with fairly high integrity. A highly deviant order would be one that encourages us to interpret Vertigo alongside films from the early modern avant-garde, late twentieth century auteurist cinema and television, and obscure Canadian experimentalism. To do the latter, as crazy as it might seem, is quite precisely to model how interpretive variety comes into being, even if it runs the risk of our venturing into pure outlier territory. Because there can theoretically be no end to the number of things one could compare or contrast to Vertigo, there is no end in sight to the possibilities of interpretation. In that regard, I suppose I would have to side with those who favor postmodernism and deconstruction in their critical approaches. I do so, however, for quite different reasons. The undecidability of meaning is less a function of existential absurdity and semiotic indeterminacy, in my mind, than it is a consequence of natural CONCLUSION 125 cognitive defects, a wilful limitation of possibilities driven by ideological convictions, and simple intellectual fashion. With that in mind, I suppose I have to agree with those who eschew auteurism, itself a growing critical trend (Brody, 2014). I have written as if to lionize, say, both Hitchcock and Kubrick, but the alleged “genius” of both has recently been demys- tified (e.g., Raphael, 2006). What I am left with is deep sense that these cultural objects have played some kind of role in constituting the illusion that is me, so I return to the autoethnography with which I began. These thoughts are ones that have been stirring in me since my days in Paris as a graduate student—indeed, even earlier, when I was an undergraduate struggling to characterize my thinking as “cumulative impression,” the formation of a sense of meaning through the gradual accretion of reactions, thoughts and convictions (usually in that order). Now, of course, I see all of this as retroactive re- elaboration along the axis of a hermeneutic spiral that looks like a circle when seen from one end but that opens infinitely into the unknown when seen from the side. BIBLIOGRAPHY

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A Art history, 8, 11, 45 Abrams, Jerold J., 108 Ascher, Rodney, 91 Absurd, 7, 36, 106, 108 Asch, Solomon, 103 Acrophobia, 25, 49, 59, 60, 69, 73, Associative distance, 60 83, 117 Attention, 15, 19, 112, 121, 123 Aesthetics, 13 Atwood, Margaret, 4 Age differences, 68 Auiler, Dan, 26, 32, 50, 53, 55, 59, Agel, Jerome, 7 67, 71, 85 Agency, 11 Auteurism, 28 Ager, Rob, 91–92, 117 Authenticity, 31, 32, 69, 108, 109 Alchemy, 76, 77 Authority, 11 Allegory, 24 Autobiography, 4, 10, 24, 53 Allen, Richard, 115 Auto-ethnography, 2 Alternate endings, 107, 108, 109 Availability heuristic, 4, 57, 60, Alvinophilia, 51, 52, 70 70, 123 Analytic register, 28 Avant-garde, 6, 57, 63, 75, 98, 124 Anchoring, 103, 123 Anémic Cinéma, 5, 58, 60, 61, 75, 80, 95 B Animation, 34, 49, 81 Backﬁre effect, 4, 12 Anlage, 34 Baggett, David, 24 Anxiety, 6, 76, 79, 80, 82, 83, 89, 90, Ballantyne, John, 89, 90 91, 93, 95, 96, 101, 102 Bal, Mieke, 11, 12 Apophenia, 88 Balsam, Martin, 52 Architecture, 27, 62 Barbarow, George, 55 Argosy Bookshop, 40, 72 Barr, Charles, 40, 119 Arnheim, Rudolf, 12 Barthes, Roland, 5, 29, 77

Barton, Judy, see Judy Cherry, E. Colin, 102 Bass, Saul, 49, 50, 53, 58 Childhood, 6, 7, 31, 34, 108, Beckett, Samuel, 105–106, 108 109, 110 Bed, 25, 27, 28, 67, 77, 98, 99 Chion, Michel, 96 Bel Geddes, Barbara, 25, 68 Chunk, 112 Bell tower, 26, 36, 49, 59, 72, 81, 93 Church, 109, 110 Belly dancing, 51 Churchill, Winston, 14 Belton, Robert, 1, 9, 24, 72, 80, 92, Ciment, Michel, 111, 113 106, 110 Cinematography, 1 Benjamin, Walter, 39 Circulatory, 15, 17 Bergman, Ingrid, 36, 89 Cixous, Hélène, 82 Bergman, Oscar, 104 Clarke, Arthur C., 7 Biography, 3–4, 10, 24, 31 Closure, 15, 16, 17, 18, 25, 52, 78 Bird, 68, 69, 87, 110 Clouzot, Henri-Georges, 40, 58 Bitextual, 40 Coffee pot, 67 Black, Karen, 53 Coffey, Amanda, 3 Blackmail, 101 Cognitive bias, 4, 11, 12, 60, 103, Bogdanovich, Peter, 30, 31, 65 104, 124 Boileau-Narcejac, 3, 40 Cognitive processing, 4, 12, 13, 19, Born, Richard T., 20 50, 102, 103 Bra, 29, 33, 37, 62, 66, 73 Cognitive-shift theory, 100 Breton, André, 59, 76 Cohen, Tom, 39, 70 Broadbent, Donald Eric, 102 Coit Tower, 32, 33, 47, 53, 67, Brody, Richard, 125 68, 100 Brooks, Xan, 117 Cold War, 35, 65 Brougher, Kerry, 24 Coleman, Herbert, 69 Brown, Royal S., 29, 40, 48, 66, 89 Colorado, 88, 91, 92, 117, 119 Brulov, 89 Coloring Photographs, 69 Bumstead, Henry, 32, 53, 69 Commandeur, Johannes, 77, 78 Buñuel, Luis, 40, 57 Commelin, Jan, 78 Burks, Robert, 1 Comparative, 16 Conﬁrmation bias, 4, 5, 15, 43, 44, 48, 52, 60, 63, 72, 77, 91, 92, C 102, 123 Calumet, 92 Conley, Katharine, 80 Camphausen, Rufus C., 79 Conomos, John, 49 Cantilever, 61, 65, 66, 72 Conrad, Daniel, 7 Carlström, Birger, 8, 11 Constraints, 5, 15, 16, 19, 21, 39 Cavell, Stanley, 9, 37, 97 Contagion, 10, 12 Charmaz and Mitchell, 2 Context, 3, 4, 5, 9, 10, 11, 32, 36, 44, Chekhov, Michael, 87, 89 46, 49, 54, 62, 83, 97, 100, 101, Chekhov’s skill, 87 110, 118 INDEX 147

Continuity error, 72, 109 Dream, 34, 57, 68, 82, 89, 90, 118 Cooper, Dale, 97 Driver’s license, 71, 72 Copeland, Charles, 68 Dr. Strangelove, 7 Coppel, Alec, 3, 32 Duchamp, Marcel, 5, 57, 58, 59, 60, Corber, Robert, 24, 35 62, 75, 76, 80, 81, 95 Corby, Ellen, 118 Durgnat, Raymond, 29, 30, 32, 34, 40 Corset, 25, 33, 37, 60, 61, 62, 99 Duvall, Shelley, 86 Corwin, William, 107 Cowan, Nelson, 112 Crane, Marion, 52, 68 E Crewe, 101 Eagleton, Terry, 2 Crothers, Scatman, 86 Easter eggs, 43, 44, 49 Culturality, 13, 15 Eddy, Max, 87 Cumulative impression, 125 Editing, 28, 65, 81, 98 Cybele, 92 Elbow, 48 Elder, Bruce, 59, 75 Elkins, James, 8, 11 D Ellis and Bochner, 2 Dalí, Salvador, 57, 89 Elster, Gavin, 25, 26, 35, 40, 41, 48, Database of expectations, 46, 48 68, 69, 71, 72, 82, 93, 109 Davis, Colin, 8 Elster, Madeleine, see Madeleine Davis, Whitney, 4, 13, 14, 15, 16, 43 Empire Hotel, 63 Deconstruction, 10, 17, 36, 38, 124 Empire State Hotel, 89 Deﬂowering, 34, 83 Empirical aesthetics, 12 Delabaere and Philippe, 85 Enantiosemy, 5, 49, 79, 82, 83 De la Rivière, André, 76 Entertainment, 10 Deleuze, Gilles, 8, 12 Epistemological fantasies, 29 Della Vacche, Angela, 13 Epitext, 4, 51, 52, 63, 65, 110 Denzin and Lincoln, 3 Epley and Gilovich, 104 Deren, Maya, 98 Eraserhead, 96 Derrida, Jacques, 8, 39 Erection, 48, 62, 63, 64, 68, 70 De Sade, Marquis, 77 Ernie’s, 25, 32 Desnos, Robert, 5, 75, 76 Ernst, Max, 12, 78, 110 Deviance, 14, 57, 58, 104 Ethnography, 2 Dial M for Murder, 31 Etoile de mer, 5, 75, 76, 77, 79, 81, Disney, Walt, 34 82, 92 Dizziness, 49–50, 61 Etrog, Sorel, 1, 6, 102, 104, 105, 106, Documentary, 7, 10, 91, 107 107, 108, 109, 110, 114 Donner, Richard, 7 Every, David K., 44 Double happiness, 32 Evidence, 7, 10, 12, 34, 46, 52, Draakenstein, Hendrik van Rheede 66, 105 tot, 78 Excess, 9, 11, 79 148 INDEX

Existentialism, 6, 106, 108, 109, 115, Friendly criticism, 17, 18, 23, 33, 35 117, 124 Frumkes, Roy, 1 Experiential register, 28 Fry, 108 Experimental ﬁlm, 5, 6, 20, 98, 105, 110 Experimental studies, 103 G Expert power, 11 Gambill, Norman, 77 Eye, 4, 44, 46, 49, 50, 52, 57, 58, 59, Garcia Landa, José Angel, 17, 23, 24, 70, 88, 95, 99 33, 34, 39 Eye tracker, 44, 45 Garrett, Greg, 53 Gavin, see Elster, Gavin Gaze, 24, 37, 38, 41, 52, 70, 81, 85, F 87, 88 Father, 31, 33, 71, 87, 96, 109, 117 Geertz, Clifford, 2 Fear of falling, 39, 50, 52, 64, 90, Geezer, 83 108, 113 General Theory of Visual Culture, 13 Fear of heights, 26, 62 Genette, Gérard, 50 Feedback loops, 13, 15, 48 Genres, 19, 120 Female perspective, 37 Gerty, A. Vincent, 23, 33 Ferguson, John Scottie, see Scottie Ghost, 85, 113, 119, 120, 121 Fetishism, 51, 66, 75, 76, Giant, 97, 108 79, 80 Gilmore, Richard, 108, 109 Fetterley, Judith, 17, 24 Gingrass, Katherine, 77, 92 Fiedler, Klaus, 104 Golden Gate Bridge, 25, 81, 101, 108 Fielding, Raymond, 54 Goldsworthy, Andy, 20 Film studies, 12, 24, 45, 51 Gombrich, Ernst, 12 Fischer, Michael, 3 Goodfellas, 59 Flory, Dan, 36 Goodkin, Richard E., 62, 66 Flowers, 37, 40, 79, 82, 99 Gottlieb, Sidney, 55, 57 Focus, 1, 41, 77, 88, 102, Grady, Charles and Delbert, 106, 111, 110, 112 113, 119, 120 Fort Point, 25, 66, 81, 108 Graham, Elspeth, 116 Freedman, Jonathan, 24, 35, 55, 65 Grammatical interpretive Freedman and Millington, 55, 65 progression, 16 French and Raven, 11 Grant, Cary, 50, 112 Freud, 37, 38, 54, 62, 81, 82, 90, 99, Grave, 25, 34, 82 114, 118 Gray, Jonathan, 51 Freudian, 4, 5, 6, 27, 31–35, 37, Green and House, 4, 14, 15, 18, 57, 41, 46, 48, 50, 53, 61, 67, 68, 58, 103, 124 76, 79, 80, 83, 86, 90, 99, 101, Groves, Tim, 11, 48, 61 110, 118 Gunning, Tom, 96 INDEX 149

Gunz, Joel, 85 Hospital, 26, 89, 90, 100, 107 Gurren Lagann, 21 Hostile criticism, 17, 38, 39 Hultkrans, Andrew, 58 Humor, 5, 6, 55, 76, 100, 101 H Hyacinth, 5, 79, 80, 81 Habermas, Jürgen, 3 Haeffner, Nicholas, 69 Hair, 26, 63, 66, 69, 72, 82, 100, 118 I Halloran, Dick, 86, 87, 92 Ichheiser, Gustav, 103 Hammid, Alexander, 98 Ideology, 14 Hanging, 36, 118 Illusory correlation, 104, 123 Harlan, Jan, 117 Imaishi, Hiroyuki, 21 Harpaz, Yehouda, 20 Immersion criticism, 107 Harris, Robert, 1 Impotence, 34, 50, 62 Hasson, Uri, 45 Inattentional blindness, 15 Hayano, David, 2 Indeterminacy, 2, 36, 38, 39, 124 Hayward, Susan, 40 Inexhaustible by contrast, 15 Hecht, Ben, 31, 33 Information theory, 2 Hedges, Inez, 76, 77 In-joke, 71, 80, 81 Heidegger, Martin, 108, 109 Innuendo, 60 Helmore, Tom, 25 Inquest, 26, 99 Hermeneutic spiral, 18, 21, 25, 27, Inside joke, 44, 53 28, 30, 34, 39, 41, 43, 48, 49, 50, Integrity, 14, 57, 58, 104, 124 53, 54, 58, 60, 64, 72, 75, 103, Intentions, 8, 10, 12, 68 112, 120, 121, 123 Internet Movie Database, 23 Hermeneutics of suspicion, 17, 39 Interpretation, 3, 4, 6, 8, 10, 11, 13, Herrmann, Bernard, 1, 49 16, 18, 23, 34, 35, 40, 41, 57, 60, History, 2, 8, 11, 23, 40, 45, 54, 71, 72, 75, 77, 79, 80, 83, 90, 57, 69 101, 103, 104, 124 Hitchcock, 1, 3, 4, 6, 11, 23, 24, 27, Intertext, 4, 5, 18, 29, 30, 40, 76, 77 28, 29, 30, 31–37, 39, 40, 41, 44, Intuitive, 16 46, 49, 51–55, 57, 58, 59, 62–72, Invisible gorilla test, 44, 46, 48 81, 83, 89, 90, 92, 95, 96, 100, Isolation effect, 124 101, 102, 105, 108–110, 115, Isotopy, 9 119, 123–125 It Happened One Night, 9 Hitchcockian blot, 5, 44, 64, 112, 124 Ito, Teiji, 98 Hollinger, Karen, 24, 37, 41 Homophobia, 35, 65 Hooper, Tobe, 59 J Horak, Jan-Christopher, 58 Jacobs, Steven, 27, 70 Horton, Andrew, 32 Jail, 31, 33 Hortus Indicus Malabaricus, 78 Jameson, Fredric, 70 150 INDEX

Janco, Marcel, 105 Latent content, 38, 99 Janes, Regina, 82 Latta, Robert L., 101 Janssen, S. M. J., 124 Laura, see Palmer, Laura Jaws, 59 Leder, Helmut, 4, 15, 20 Jean, Terri, 92 Lee, Sheryl, 96, 97 Johnson, Diane, 86, 111 Leff, Leonard, 35 Joke, 33, 52, 66, 100, 101 Leibl, Pop, 41 Judy, 26, 30, 34, 35, 36, 37, 40, 41, Leland, see Palmer, Leland 63, 66, 69, 70, 71, 82, 89, 100, Les Diaboliques, 40, 58 109, 114 Lewin, Kurt, 103 Liberty, 5, 78, 85, 92, 93, 108 Libidinal economy, 65 K Life, 35 Kahneman, Daniel, 60, 104, 112 Ligeia, 41 Kalinak, Kathryn, 96 Light, 5, 6, 13, 18, 20, 43, 46, 54, 60, Kamenetsky and Okubo, 81 63, 65, 71, 75, 81, 92, 97, 104, Katz, James, 1 114, 117, 118, 124 Keane, Marian E., 37 Lighting, 9, 97 Kendall, Richard, 8 Linderman, Deborah, 38, 66, 72 Kiki de Montparnasse, 76, 92 Linguistic, 16 Killer BOB, 98 Lin and Ross, 43, 103 Kirkham, Pat, 53 Lissajous curves, 49 Klosterman, Chuck, 107 Lloyd, Danny, 86 Knife, 52, 77, 90, 92, 99, 101 Lloyd ghost, 109 Knowles, Kim, 76 Lloyd, Norman, 108 Koopman, Marel, 95 Location, 15, 18, 58, 62, 68, 78, 108 Koriat, Asher, 124 Locher, Paul, 46 Kovacs, Stephen, 77 Locked groove, 97, 98 Kraft and Leventhal, 69, 115 Locke, John, 100 Krohn, Bill, 34 Loops, 14, 20, 25 Kubrick, Stanley, 5, 7, 83, 86, 87, 106, Loplop, 110 107, 108, 109, 111, 113, 117, Lynch, David, 5, 95, 96 119, 125 Kuiper, John, 13 Kuleshov effect, 28, 65 M Kuta, Małgorzata, 76 MacLachlan, Kyle, 97 Kwakman, Job, 78 Maddin, Guy, 110 Madeleine, 25, 26, 35, 37, 38, 39, 40, 41, 47, 49, 59, 61, 63, 64, 66, 67, L 68, 69, 70, 71, 72, 73, 81, 82, 83, Lacan, Jacques, 37, 39, 65, 69, 70, 86 91, 93, 100, 108, 109, 114, 115, La Casa Viuda II, 11 117, 118, 119, 120, 121 INDEX 151

Magrini, James, 77 Mother, 33, 61, 62, 71, 87, Magritte, René, 110 101, 110 Manifest content, 18, 34 Motion Picture Code, 52 Manlove, Clifford T., 70 Mozart, Wolfgang Amadeus, 26, 100 Manmadhan, U., 79 MSTRMND, 107 Man Ray, see Ray, Man Multiple locatedness, 15 Marcus, George, 3 Mulvey, Laura, 24, 37, 38, 39, 41, 70 Martin, Erik J., 62 Munday, Rod, 111 Martin, Katrina, 58, 59 Murder, 101 Marx, Karl, 119 Music, 49, 51, 61, 95, 96, 97, 99, Masson, André, 77 100, 101 Mather, Phillipe, 88 Myth, 29, 39, 40, 82, 83, 88 Maze, 85, 87, 88, 91, 106, 116, 117 McCormack, Tom, 49, 50 McEntire, Frank, 20 N McKenzie, Brennan, 12 Naïve realism, 103, 123 McKittrick Hotel, 25, 117 Nance, John, 96 McLeod, Kevin, see MSTRMND Narcejac, see Boileau-Narcejac McLuhan, Marshall, 105, 106, 108 Native Americans, 91, 92 Memory, 6, 15, 98, 110, 112, 113, Navel, 51, 52, 53, 54 114, 115, 120, 124 Necklace, 26, 34, 71, 82 Mendez and Cherrier, 121 Neisser, Ulric, 120 Mendik, Xavier, 54 Nelson, Barry, 86 Mental illness, 34 Neurocinematics, 45 Mental map, 116, 119 Neurotic, 36 Merz, Mario, 20 Nicholson, Jack, 85 Meshes of the Afternoon, 98, 99 Nickerson, Raymond, 15 Metaphor, 4, 12, 18, 20, 21, 65, 71, Nieland, Justus, 97 79, 86, 88, 95, 104, 123 Nietzsche, Friedrich, 39 Mexico, 20 Nightmare, 38, 39, 40, 81 Midge, 25, 26, 29, 32, 33, 36, 37, 40, Nine Inch Nails, 21 41, 46, 47, 48, 60, 61, 62, 66, 68, Nolan, Amy, 88, 111 72, 99, 100, 101 Nosegay, 81 Miles, Vera, 52 Novak, Kim, 25, 26 Milward, Richard, 76 Nyhan and Reiﬂer, 12 Mirror, 98, 106 Nystagmus, 50 Mission, 26 Mizejewski, Linda, 9 Modleski, Tania, 24, 37, 38, 70 O Morgan, Daniel, 28 Obsession, 23, 26, 69, 72, 120, 121 Morris, Christopher, 24, 36, 38 Oedipal, 32 Most, S. B., 44 Ondra, Anny, 101 152 INDEX

Order, 12, 13, 14, 19, 20, 26, 29, POV, 28, 29, 38 31, 36, 58, 60, 65, 71, 75, 89, Power, 11, 20, 69, 70, 93 91, 96, 101, 106, 107, 113, 119, Preminger, Otto, 58 124, 125 Priming, 46, 48, 57 Ordinal theory, 14 Prin, Alice, 76 Orpheus, 40 Progressions, 16 Outlier, 6, 8, 11, 12, 104, 107, 124 Pronin, E., 43, 103 Outsider, 17, 57 Pseudo-closure, 19, 20 Overinterpretation, 8, 12, 13 Psycho, 4, 28, 40, 49, 52, 58, 68, Overlook Hotel, 86, 87, 92, 109, 117, 70, 118 119, 120 Psychoanalytic criticism, 18 Ozturk, Serkan, 12 Psychological, 6, 9, 10, 11, 12, 15, 16, 24, 28, 38, 40, 44, 48, 49, 57, 58, 59, 70, 89, 93, 102, 110, 112, P 113, 115, 119, 120, 121, 123 Paglia, Camille, 62 Psychological romance, 120, 121 Paintings, 14, 15, 19, 27, 70, 81, 82 Psychology, 10, 11, 12, 29, 44, 116 Palace of the Legion of Honor, 27, Puns, 58 70, 81 Pure cinema, 28, 30 Palmer, Laura, 16, 96, 113 Pygmalion, 29, 30, 40 Palmer, Leland, 96, 97, 98, 99 Paratext, 4, 10, 50 Pareidolia, 88 R Paris, 1, 51, 85, 104, 105, 125 Rabinovitz, Lauren, 76 Pattern, 2, 88, 95, 106 Raphael, Frederic, 10, 125 Perry, Dennis R., 24, 41 Raybould, David, 44 Persephone, 39, 83 Ray, Man, 5, 76, 78, 81, 96 Peucker, Brigitte, 40 Reardon, Morrie, 69 Phallic, 32, 33, 47, 48, 53, 62, 63, Rear Window, 65, 70, 108 64, 65, 68, 69, 71, 80, 90, 99, Rebello, Stephen, 53, 58 100, 118 Record player, 5, 61, 95, 96, 97, 98, Philosophy, 4, 6, 24 99, 101 Phobia, 23, 26, 89, 90 Recursions, 13, 15, 43, 123 Playboy, 67 Renfro, Marli, 52 Poague, Leland, 37 Renoir, Pierre-Auguste, 8, 11 Podesta Baldocchi, 37, 81 Repetition with a difference, 16, 20 Poe, Edgar Allan, 41, 111 RePossessed, 44 Police, 60, 69, 109 Representativeness heuristic, 112, 123 Poltergeist, 59 Resisting criticism, 24, 34–35 Pomerance, Murray, 24, 39, 48, 119 Retroactive re-elaboration, 17, 18, 33, Popova, Maria, 108 34, 48, 123 Post-Freudian, 17 Rhodes, John David, 99 INDEX 153

Rich and Strange, 51 Scratch music, 96 Ricoeur, Paul, 9 Second viewing, 30 Ritchard, Cyril, 101 Sélavy, Rrose, 76 Robertson, Robert, 98 Selective auditory attention, 101, 102 Robinson and Piggins, 58, 104 Selznick, David O., 35 Room 237, 86, 91, 107 Semiotic, 2, 5, 7, 9, 37, 124 Rosshandler, Leo, 106 Sex, 53, 77, 81, 90, 99 Ross, Stephen David, 4, 14, 15, 18, Shakespeare, 4 57, 58, 103, 106, 124 Shannon, Claude E., 2 Rotatory, 17 Shark Week, 60 Rothman, William, 90 Ship, 48, 69 Russell, Jane, 29 Shuāngxǐ, 32 Ryan, John Fell, 107 Sickert, Walter, 14 Silva, Frank, 98 Silvia, Paul J., 13 S Simons and Chabris, 15 Sabotage, 34, 55 Sitney, P. Adams, 59, 76, 80, 92, 99 Saboteur, 108 Smithson, Robert, 20 Saito, Ayako, 114, 115 Smith, Susan, 29, 111 Salcedo, Doris, 11, 12 Snyder and Uranowitz, 112 Sallitt, Daniel, 29 Solomon, Robert C., Salvatore and Cancellieri, 21 103, 108 Samuels, Robert, 38, 90 Sparkes, Andrew, 3 San Francisco, 25, 31, 32, 49, 53, 69, Spellbound, 5, 31, 34, 35, 57, 85, 89, 93, 114, 115, 117 90, 91, 110 San Juan Bautista, 26, 63, 68, 69, 82 Spencer, Henry, 96 Sarre, P., 116 Spielberg, Steven, 59 Schkade and Kahneman, 104 Spiral, 3, 4, 6, 7, 18, 19, 20, 21, 49, Schleiermacher, Friedrich, 16, 17 51, 53, 59, 60, 61, 63, 70, 81, Schmidt, D. J., 16 103, 105, 106, 109, 114, 115 Schwartz, Gary, 8 Spiral Jetty, 20 Scopophilia, 37 Spiral Resonance Field, 20 Scorcese, Martin, 59 Spoto, Donald, 31, 55, 72, 83, 110 Score, 1, 104 Stairs, 5, 26, 34, 48, 91, 92, 97, 98, Scorolli, 51 117, 118, 119 Scottie, 25, 26, 28, 29, 31, 32, 33, 34, Stam, Robert, 40, 69 35, 36, 37, 38, 39, 40, 41, 46, 47, Star Child, 7, 8 48, 49, 50, 53, 59, 60, 61, 62, 63, Stefano, Joseph, 52 64, 65, 66, 67, 68, 69, 70, 71, 72, Stepladder, 25, 47, 62 81, 82, 83, 88, 92, 93, 95, 99, Stereokinetic depth, 58, 95 100, 101, 108, 109, 114, 115, Stevens and Raybould, 44 117–119 Stevens, Richard, 44 154 INDEX

Stewart, James, 25, 65, 68, 72 To Lay a Ghost, 85 Stranger on a Train, 31 Toilet, 53, 55 Struycken, Carel, 97 Tolman, Edward C., 116 Successions, 13, 15, 43, 97 Tomasini, George, 1 Suicide, 25, 26, 47, 99, 108 Tomlinson, Doug, 28 Sullivan, 49 Topographagnosia, 121 Superman, 7, 12, 13, 39, 104 Torrance, Jack, 85, 86, 88, 91, Surgery, 53, 106 106, 107, 109, 111, 113, Surplus knowledge, 65 117, 119, 120 Surrealism, 1, 2, 78, 99 Tragedy, 101 Surveillance, 35, 110 Trauma, 6, 31, 33, 34, 89, 110 Suspense, 113 Treisman, Anne M., 102 Suspension, 62 Trosman, Harry, 33, 34 Swank magazine, 67, 68 Truffaut, François, 4, 24, 28, 31, 51, 53, 55, 63, 65, 66, 72 Trumpener, Katie, 32, 39 T Tryon, 25 Taste, 15, 19, 55 Turntable, 95, 97, 99, 101 Taylor, Samuel, 3, 33, 36, 55, 71, Tversky and Kahneman, 60 85, 100 Twin Peaks, 5, 95, 96, 99, 106, 108 Technical assistance, 23 2001: A Space Odyssey, 7 Technical interpretive progression, 16 Telescoping effect, 124 Text, 5, 8, 9, 12, 16, 17, 18, 38, 44, U 50, 59, 76, 77, 79 Ullman, Stuart, 86, 88, 91, 107, The Downward Spiral, 21 111, 117 The Man with the Golden Arm, 58 Uncanny, 6, 38, 111, 114, 115, 116, The Paradine Case, 29 118, 121 The Red Drum Getaway, 85 Un chien andalou, 57, 89, 90 The Shining, 5, 6, 85, 89, 87, 88, 91, Unkrich, Lee, 107 92, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 119, 120, 121 V Therapy, 23, 25, 26, 36, 62, 89, Valdes, Carlotta, 25, 40, 72 100, 101 Van Goens, General Ryklof, 78 Thick description, 2 Van Gogh, Vincent, 10 Thiher, Allen, 77 Vanloo, Carle, 27 Thornhill, Roger, 50 Van Oorsouw and Merckelbach, 112 Time, 109 Vertigo, 3, 4, 5, 6, 18, 21, 23, 24, 25, Title sequence, 40, 49, 50, 52, 53, 27, 28, 29, 31, 32, 33, 34, 35, 36, 59, 70 37, 39, 40, 41, 43, 44, 45, 46, 49, To Catch a Thief, 108 50, 51, 52, 53, 57, 58, 59, 60, 63, INDEX 155

66, 68, 70, 72, 75, 76, 81, 85, 88, Wise, Ray, 96 89, 91, 92, 95, 97, 99, 100, 104, Wollen, Peter, 34 106, 108, 109, 114, 115, 117, Wood, David, 17 119, 120, 121, 123, 124 Wood, Midge, see Midge Vertigo effect, 59 Wood, Robin, 24, 33, 50, 83, 110 Visibility, 13, 16 Wordplay, 52 Visual culture, 4, 12, 13 Work, 2, 8, 9, 10, 11, 12, 18, 19, 20, Visuality, 13, 15, 16 23, 24, 27, 28, 29, 30, 31, 33, 34, Visual turn, 12 36, 38, 45, 58, 60, 62, 70, 78, 86, Voyeur, 37, 38 91, 96, 98, 99, 104, 105, 107, 110, 116, 119 Wrong, 8, 11, 26 W Walker, 34, 113 Webster, Patrick, 85, 86, 119 Z White, Susan, 38, 61, 66 Zabriskie, Grace, 97 Whitney, John, 49 Zacks, Samuel J. and Ayala, 105 Wilson, 58, 103 Žižek, Slavoj, 5, 8, 39, 44, 46, 64, 65, Wisecracks, 63 69, 70, 71, 112