Hitchcock and the heterotopic
aut.conference.type | Published Abstract | |
aut.researcher | Jackson, Mark Laurence | |
dc.contributor.author | Jackson, ML | |
dc.date.accessioned | 2012-12-11T07:05:03Z | |
dc.date.accessioned | 2012-12-11T07:05:30Z | |
dc.date.accessioned | 2012-12-11T07:06:08Z | |
dc.date.available | 2012-12-11T07:05:03Z | |
dc.date.available | 2012-12-11T07:05:30Z | |
dc.date.available | 2012-12-11T07:06:08Z | |
dc.date.copyright | 2012 | |
dc.date.issued | 2012 | |
dc.description.abstract | In 1967 the French philosopher, Michel Foucault, presented a lecture with the title, “Of Other Spaces,” to a small group of architects, and thereby made known his understanding of the term “heterotopia” initially and briefly introduced in The Order of Things. In the past decade there has been considerable renewed interest in Foucault’s work, and a renewed interest in this obscure and complex notion of ‘other’ spaces. One example he gives, among many, is that of cinematic space, as well as the space of the cinema. This paper aims to explore aspects of Foucault’s thinking as it might apply to cinema, with particular emphasis on relations developed in his work on power, space and knowledge. The cinema of Hitchcock is particularly apt for such an engagement, not simply because Hitchcock has a rich and complex engagement with spatiality and pathologies, or an ‘otherness’ of spatially defined norms. More so than cinematic depictions of the heterotopic is Hitchcock’s distilled understanding of the spatiality of power’s exercise in producing the ‘true’ and in speaking the true. Thus, with so many plots in Hitchcock, the driving force of a cinematic narrative and mise en scene concerns implicit relations between power, knowledge and space. The paper will engage a number of Hitchcock films, including The Man Who Knew Too Much (1934/1956); Rope (1948); Vertigo (1958); and North By Northwest (1959). | |
dc.identifier.citation | Film and Philosophy Conference 2012 held at Kings College, London, Queen Mary University of London and Kingston University, London, UK, 2012-09-12to 2012-09-14 | |
dc.identifier.uri | https://hdl.handle.net/10292/4854 | |
dc.publisher | Film-philosophy | |
dc.relation.replaces | http://hdl.handle.net/10292/4852 | |
dc.relation.replaces | 10292/4852 | |
dc.relation.replaces | http://hdl.handle.net/10292/4853 | |
dc.relation.replaces | 10292/4853 | |
dc.relation.uri | http://www.film-philosophy.com/conference/index.php/conf/2012/paper/view/333 | |
dc.rights | Auckland University of Technology (AUT) encourages public access to AUT information and supports the legal use of copyright material in accordance with the Copyright Act 1994 (the Act) and the Privacy Act 1993. Unless otherwise stated, copyright material contained on this site may be in the intellectual property of AUT, a member of staff or third parties. Any commercial exploitation of this material is expressly prohibited without the written permission of the owner. | |
dc.rights.accessrights | OpenAccess | |
dc.subject | Foucault | |
dc.subject | Hitchcock | |
dc.subject | Heterotopias | |
dc.title | Hitchcock and the heterotopic | |
dc.type | Conference Contribution | |
pubs.elements-id | 132852 | |
pubs.organisational-data | /AUT | |
pubs.organisational-data | /AUT/Design & Creative Technologies | |
pubs.organisational-data | /AUT/Design & Creative Technologies/School of Arts & Design | |
pubs.organisational-data | /AUT/PBRF Researchers | |
pubs.organisational-data | /AUT/PBRF Researchers/Design & Creative Technologies PBRF Researchers | |
pubs.organisational-data | /AUT/PBRF Researchers/Design & Creative Technologies PBRF Researchers/DCT A & D Other |
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