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Hitchcock and the Presence of Portraits

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  • This research paper, “ L’auteur ou l’artiste?”, examines the films of Alfred Hitchcock and their importance amongst the canon of cinema. In an analysis of his three film periods (British, Early Hollywood, and Late Hollywood), the aim of this research is to uncover the significance of the consistent inclusion of portraits throughout his films. Recognized as an auteur amongst cinephiles, Hitchcock has been deemed the “Master of Suspense”. Through specifically observing the looming and significant portraits in the films “The Lodger” (1927), “Rebecca” (1940), and “Vertigo” (1958), it becomes apparent that the unnerving presence of art, particularly portraits, is one of the main factors of Hitchcock’s mastery. The interviews between Hitchcock and François Truffaut will be applied to this claim, as well as Tania Modleski’s “ The Women Who Knew Too Much: Hitchcock and Feminist Theory “, Aaron Rich’s “The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir, Gothic Melodramas, and Ghost Stories of the 1940s and 1950s”, and various other scholarly articles cited within the paper. While Hitchcock’s creative implement of portraits help define him as an auteur , it also contributes to the established precedence for any future horror or suspense films, as well as demonstrates a filmmaker’s ability to omit a unique and creative rhetoric.
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  • Corvallis, Oregon, USA
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  • Related research paper: L’auteur ou l’artiste?
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