Hitchcock's Appetites
Free

Hitchcock's Appetites

By Casey McKittrick
Free
Book Description

In Hitchcock’s Appetites, Casey McKittrick offers the first book-length study of the relationship between Hitchcock’s body size and his cinema. Whereas most critics and biographers of the great director are content to consign his large figure and larger appetite to colorful anecdotes of his private life, McKittrick argues that our understanding of Hitchcock’s films, his creative process, and his artistic mind are incomplete without considering his lived experience as a fat man. Using archival research of his publicity, script collaboration, and personal communications with his producers, in tandem with close textual readings of his films, feminist critique, and theories of embodiment, Hitchcock’s Appetites produces a new and compelling profile of Hitchcock's creative life, and a fuller, more nuanced account of his auteurism.

Table of Contents
  • Title Page
  • Copyright Page
  • Contents
  • Acknowledgments
  • Introduction
    • Why appetites?
    • Why Hitchcock?
    • Hitchcock studies and fat studies: An interdisciplinary repulsion?
    • Hitchcock, feminism, and embodiment
    • How Hitchcock’s body matters
    • The genius of tall, thin, and handsome
  • Chapter 1 Hitchcock’s Hollywood diet
    • The makings of a media giant
    • The arrival of the “300-Pound Prophet”
    • Selznick’s fat commodity
  • Chapter 2 The Hitchcock cameo: Fat self-fashioning and cinematic belonging
    • “The Real Me (The Thin One)”: Another origin story of the cameo
    • The (Meso) textual play of the cameo: Blackmail, Shadow of a Doubt, Lifeboat, Stage Fright
    • A typology of the Hitchcock cameo
  • Chapter 3 The pleasures and pangs of Hitchcockian consumption
    • Screening the revolting body
    • The poetics of potables
    • “Drink It Down”: An Hitchcockian imperative
    • Lactose and intolerance: The poisonous meanings of milk
    • Hitchcockian consumption and the carnivalesque
    • Food, sex, murder: The Hitchcockian trinity of pleasure
    • Hitchcock and the signifying food chain
  • Chapter 4 Appetite and temporality in Rear Window: Another aspect of voyeurism
    • An eye for a stomach: The instructive case of Miss Torso
    • Framing the Eat, Drink, and Be Merry Girl
    • The problem of fit: Imagining change, growth, and proportion
    • When seeing is not believing
    • “I want no part of her”: Women and the comedy of corporeal errors
    • Time, change, and ambivalence
  • Chapter 5 Childhood and the challenge of fat masculinity
    • “You’ll outgrow it”: Hitchcock’s youth
    • Suffer little children: Hitchcock and cinematic childhood
    • Loss, danger, absence: The semiotics of Hitchcock’s filmic children
    • The Wrong Man and the appetites of Cain and Abel
  • Chapter 6 Hitchcock and the queer lens of fatness
    • Hitchcock and the fat closet
    • A sense of sex: Queer romance in Hitchcock’s cinema
    • Cinematic vicarity: Surrogate versus prosthetic identification
    • The Tickles: Subjectivities without bodies
  • Epilogue
  • Notes
    • Introduction
    • Chapter 1
    • Chapter 2
    • Chapter 3
    • Chapter 4
    • Chapter 5
    • Chapter 6
  • Enhanced Filmography
  • Bibliography
  • Index
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