히치콕의 <이창>에서의 공간에 대한 알레고리적 읽기 = An Allegorical Reading of Spaces in Alfred Hitchcock's Rear Window

다국어 초록 (Multilingual Abstract)

Alfred Hitchcock's Rear Window (1954) is one of his representative works dealing with voyeurism as its subject matter. Critical views on this film have mainly been diverged in two directions: one focusing on the film's meta-cinematic structure and the other emphasizing the gender-based power relations. Especially the latter view has been propelled by Laura Mulvey's important essay on the 'gaze theory' in cinema in which she mentioned this film as an exemplary work showing the imbalanced sexual power aligned with vision and gaze.
This essay adopts the interpretations on this film developed so far, and at the same time tries to analyze the film from another analytic angle, reading it as a social allegory reflecting the reality of postwar America. Unlike the perfect families and stable lives reprised on 1950s TV, American society at that time underwent crises and changes regarding gender roles and social norms. Returning veterans had difficulty in being relocated into the society, and more and more women wanted to have their positions outside their homes. In viewing this film as a critical comment on postwar America, this study focuses especially on the function of spaces in the film. The wheelchair-bound protagonist, Jeffries, who cannot leave his private space and his girlfriend Lisa who actively crosses the private and public space seem to reflect the changing American society in which the boundary between traditional gender roles was being destabilized.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 이중의 공간을 횡단하는 여성들
• Ⅲ. 사적인 공간에 갇힌 남성
• Ⅳ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

1 Mulvey, Laura, "Visual Pleasure and Narrative Cinema, In Feminism and Film" Oxford UP 32-47, 2004

2 Fawell, John, "Torturing Women and Mocking Men: Hitchcock’s Rear Window" 44 (44): 88-104, 2002

3 Howe, Lawrence, "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock’s Rear Window" 35 : 16-37, 2008

4 Modleski, Tania, "The Women Who Knew Too Much: Hitchcock and Feminist Theory" Routledge 1989

5 Lee, A. Robert, "The View from the Rear Window: The Fiction of Cornell Woolrich, In Twentieth-Century Suspense: The Thriller Comes of Age" St. Martin's 174-188, 1990

6 Thompson, Jay Daniel, "The Complexities of Spectatorship: Reviewing Rear Window" 55 : 101-105, 2009

7 Wojcik, Pamela Robertson, "The Author of This Claptrap: Cornell Woolrich, Alfred Hitchcock, and Rear Window, In Hitchcock at the Source: The Auteur as Adaptor, In Hitchcock at the Source: The Auteur as Adaptor" State U of New York P 213-227, 2011

8 Harris, Thomas, "Rear Window and Blow-Up: Hitchcock’s Straightforwardness vs. Antonioni’s Ambiguity" 15 (15): 60-63, 1987

9 Woolrich, Cornell, "Rear Window (Originally titled ‘It Had to Be Murder’), In Adaptations: From Short Story to Big Screen: 35 Great Stories That Have Inspired Great Films. Ed. Stephanie Harrison" Three Rivers Press 2005

10 Spigel, Lynn, "Make Room for TV: Television and the Family Ideal in Postwar America" The U of Chicago P 1992

11 Allen, Jeanne, "Looking Through Rear Window: Hitchcock’s Traps and Lures of Heterosexual Romance, In Female Spectators: Looking at Film and Television" Verso 31-44, 1992

12 Wood, Robin, "Hitchcock’s Films Revisited" Columbia UP 1989

13 Truffaut, François, "Hitchcock" Simon & Schuster, Inc 1984

14 Photinos, Christine, "Cornell Woolrich and the Tough-Man Tradition of American Crime Fiction" 28 (28): 61-68, 2010

15 Byars, Jackie, "All that Hollywood Allows: Re-reading Gender in 1950s Melodrama" The U of North Carolina P 1991

16 Toles, George E, "Alfred Hitchcock’s Rear Window as Critical Allegory" 216 (216): 225-245, 1989