What Hitchcock Taught Us about Whodunnits
Although he specialised in crime thrillers, Alfred Hitchcock avoided filming whodunnits: his dislike gives a clue to both readers and spectators about the nature of what could be termed a “Hitchcock-genre” and about the thrill some still get from seemingly old fashioned novels of the 1930s. Whodunni...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2004-12-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/1554 |
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| author | Dominique Sipière |
| author_facet | Dominique Sipière |
| author_sort | Dominique Sipière |
| collection | DOAJ |
| description | Although he specialised in crime thrillers, Alfred Hitchcock avoided filming whodunnits: his dislike gives a clue to both readers and spectators about the nature of what could be termed a “Hitchcock-genre” and about the thrill some still get from seemingly old fashioned novels of the 1930s. Whodunnits follow a strict pattern of double narration (the inquest strives to recreate the hidden story of the crime) and of a double “game” (the “author” challenges the reader and the characters keep challenging each other). But the main thrill might result from a specific tension between a logical quest and an ever expected meta-religious instant of revelation: doubt and certainty, mastery and subversion. |
| format | Article |
| id | doaj-art-bf34b09df366497994891bc98647b63e |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2004-12-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-bf34b09df366497994891bc98647b63e2025-01-30T13:48:15ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022004-12-01614915510.4000/sillagescritiques.1554What Hitchcock Taught Us about WhodunnitsDominique SipièreAlthough he specialised in crime thrillers, Alfred Hitchcock avoided filming whodunnits: his dislike gives a clue to both readers and spectators about the nature of what could be termed a “Hitchcock-genre” and about the thrill some still get from seemingly old fashioned novels of the 1930s. Whodunnits follow a strict pattern of double narration (the inquest strives to recreate the hidden story of the crime) and of a double “game” (the “author” challenges the reader and the characters keep challenging each other). But the main thrill might result from a specific tension between a logical quest and an ever expected meta-religious instant of revelation: doubt and certainty, mastery and subversion.https://journals.openedition.org/sillagescritiques/1554subversionwhodunnitHitchcocksecularised revelation |
| spellingShingle | Dominique Sipière What Hitchcock Taught Us about Whodunnits Sillages Critiques subversion whodunnit Hitchcock secularised revelation |
| title | What Hitchcock Taught Us about Whodunnits |
| title_full | What Hitchcock Taught Us about Whodunnits |
| title_fullStr | What Hitchcock Taught Us about Whodunnits |
| title_full_unstemmed | What Hitchcock Taught Us about Whodunnits |
| title_short | What Hitchcock Taught Us about Whodunnits |
| title_sort | what hitchcock taught us about whodunnits |
| topic | subversion whodunnit Hitchcock secularised revelation |
| url | https://journals.openedition.org/sillagescritiques/1554 |
| work_keys_str_mv | AT dominiquesipiere whathitchcocktaughtusaboutwhodunnits |