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The women who knew too much: Hitchcock and feminist theory
0 references·16 citing·53 second hop
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  • 2007Visual "Drive" and Cinematic Narrative: Reading Gaze Theory in Lacan, Hitchcock, and Mulvey72 cited
  • 2003Psychoanalytic Film Theory63 cited
  • 2007Deleuze, Altered States and Film61 cited
  • 1990Oppressive Texts, Resisting Readers and The Gendered Spectator: The New Aesthetics60 cited
  • 2005Conspicuous Consumption59 cited
  • 2015Reframing Cinematic Space and Audience Practice in the Digital Age57 cited
  • 1995Piss Elegant: Freud, Hitchcock, and the Micturating Penis45 cited
  • 1999When Whiteness Feminizes...: Some Consequences of a Supplementary Logic41 cited
  • 2014Texture in Film37 cited
  • 2017The gendering power of genres: How female Scandinavian crime fiction writers experience professional authorship28 cited
  • 2016Remastering the Master: Hitchcock after Feminism24 cited
  • 2008Virtual Metamorphoses: Cosmetic and Cybernetic Revisions of Pygmalion's "Living Doll"22 cited
  • 2001E. M. Forster's Reconfigured Gaze and the Creation of a Homoerotic Subjectivity20 cited
  • 2011Surveillance Cinema: Narrative between Technology and Politics19 cited
  • 2011Hitchcock and Feminist Criticism: From Rebecca to Marnie

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18 cited
  • 2010Manhood in Hollywood from Bush to Bush17 cited