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020 _a9780292742031
_qPDF
024 7 _a10.7560/742024
_2doi
035 _a(DE-B1597)9780292742031
035 _a(DE-B1597)587766
035 _a(OCoLC)1286807360
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995.9.M46
_bG746 2013
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.43/653
_223
084 _aonline - DeGruyter
100 1 _aGreven, David
_eautore
245 1 0 _aPsycho-Sexual :
_bMale Desire in Hitchcock, De Palma, Scorsese, and Friedkin /
_cDavid Greven.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2013
300 _a1 online resource (311 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tACKNOWLEDGMENTS --
_tINTRODUCTION. Hitchcock, Gender, and the New Hollywood --
_tChapter One. Cruising, Hysteria, Knowledge: The Man Who Knew Too Much (1956) --
_tChapter Two “You Are Alone Here, Aren’t You?”: Psycho’s Doubles --
_tChapter Three. Blank Screens: Psycho and the Pornographic Gaze --
_tChapter Four. Misfortune and Men’s Eyes: Three Early De Palma Comedies --
_tChapter Five. A Sense of Vertigo: Taxi Driver --
_tChapter Six. Mirror Shades: Cruising --
_tChapter Seven The Gender Museum: Dressed to Kill --
_tCoda. Ideology at an Impasse --
_tNOTES --
_tBIBLIOGRAPHY --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aBridging landmark territory in film studies, Psycho-Sexual is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man. Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of Psycho and the 1956 remake of The Man Who Knew Too Much to introduce the filmmaker’s evolutionary development of American masculinity. Psycho-Sexual probes De Palma’s early Vietnam War draft-dodger comedies as well as his film Dressed to Kill, along with Scorsese’s Taxi Driver and Friedkin’s Cruising as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches. Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context. Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance. The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. Psycho-Sexual also explores the broader gender crisis and disorganization that permeated the Cold War and New Hollywood eras, reimagining the defining premises of Hitchcock criticism.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aHomosexuality in motion pictures.
650 0 _aMasculinity in motion pictures.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/742024
856 4 0 _uhttps://www.degruyter.com/isbn/9780292742031
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292742031/original
942 _cEB
999 _c187934
_d187934