히치콕의 <이창>에서의 공간에 대한 알레고리적 읽기

• 영문명: An Allegorical Reading of Spaces in Alfred Hitchcock's Rear Window
• 발행기관: 한국아메리카학회
• 저자명: 이형숙(Hyung-Sook Lee)
• 간행물 정보: 『미국학논집』제45집 2호, 217~239쪽, 전체 22쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2013.09.30

영문 초록

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

Ⅰ. 들어가는 말

Ⅱ. 이중의 공간을 횡단하는 여성들

Ⅲ. 사적인 공간에 갇힌 남성

Ⅳ. 맺음말

참고문헌

Abstract

키워드

알프레드 히치콕 <이창> 영화적 공간 알레고리 로라 멀비 Alfred Hitchcock Rear Window cinematic space allegory Laura Mulvey