[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-33931-en":3,"doc-seo-33931-105":29},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},33931,2336464648746,"Skyler","https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c",2,"Literature","Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock)","Collection of essays edited by Slavoj Žižek that link psychoanalytic theory, particularly Lacan’s concepts, with Alfred Hitchcock’s films. The introduction examines how the break between modernism and postmodernism reshapes the status of interpretation and its relation to the text. Across sections, contributors analyze Hitchcockian themes and objects, spatial and theatrical structures, insight and blindness, and film-specific motifs. The work culminates in an inquiry into Hitchcock’s universe and the viewer’s position.","","cbCaiugc4oxt6os1","https://ap.wps.com/l/cbCaiugc4oxt6os1","pdf",24504784,1,288,"English","en",105,"# Introduction\n## Alfred Hitchcock, or, The Form and its Historical Mediation\n# Part I: The Universal—Themes\n## Hitchcockian Suspense\n## Hitchcock's Objects\n## Spatial Systems in North by Northwest\n## A Perfect Place to Die: Theatre in Hitchcock's Films\n## Punctum Caecum, or, Of Insight and Blindness\n# Part I: The Particular—Films\n## Hitchcockian Sinthoms\n## The Spectator Who Knew Too Much\n## The Cipher of Destiny\n## A Father Who Is Not Quite Dead\n## Notorious\n## The Fourth Side\n## The Man Behind His Own Retina\n## The Skin and the Straw\n## The Right Man and the Wrong Woman\n## The Impossible Embodiment\n# Part II: The Individual—Hitchcock's Universe\n## 'In His Bold Gaze My Ruin Is Writ Large'\n## What's wrong with The Wrong Man?","[{\"question\":\"How does the introduction explain the role of interpretation in modernism and postmodernism?\",\"answer\":\"It argues that modernism and postmodernism treat interpretation as inherent to the work, but the change between them alters how interpretation relates to the text and its commentary. Modernist art is described as initially incomprehensible, where interpretation later integrates the shock.\"},{\"question\":\"What is the book’s connection between Lacan and Hitchcock?\",\"answer\":\"The collection uses Hitchcock’s films as privileged objects to explore Lacanian psychoanalytic concerns. 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Modernist art is described as initially incomprehensible, where interpretation later integrates the shock.","Answer",{"name":75,"@type":70,"acceptedAnswer":76},"What is the book’s connection between Lacan and Hitchcock?",{"text":77,"@type":73},"The collection uses Hitchcock’s films as privileged objects to explore Lacanian psychoanalytic concerns. It frames Hitchcock’s forms, themes, and viewer-position as a means to think through Lacan’s concepts.",{"name":79,"@type":70,"acceptedAnswer":80},"What do the chapter titles suggest about the scope of topics covered?",{"text":81,"@type":73},"The contents range from suspense and film objects to spatial systems, theatrical structures, insight and blindness, and specific film analyses like “Psycho,” “Notorious,” and “The Fourth Side.” It also includes an inquiry into “The Wrong Man” and related interpretive issues.","https://schema.org",{"og:url":49,"og:type":84,"og:title":13,"og:site_name":56,"og:description":14},"article",{"robots":86,"canonical":49},"index,follow",{"doc_id":7,"site_id":24}]