Author note: David Baggett (Editor), William A. Drumin (Editor)
Publish yr note: First released in 2007
The bathe scene in Psycho; Cary provide operating for his existence via a cornfield; “innocent” birds coated up on a fence ready, looking at — those seminal cinematic moments are as actual to moviegoers as their very own lives. yet what makes them so? What deeper forces are at paintings in Hitchcock’s motion pictures that so captivate his enthusiasts? This number of articles within the sequence that’s explored such pop-culture phenomena as Seinfeld and The Simpsons examines these forces with clean eyes. those essays show a desirable variety of themes: Sabotage’s classes in regards to the morality of terrorism and counter-terrorism; Rope’s controversial Nietzschean underpinnings; Strangers on a Train’s definition of morality. the various essays examine extra overarching questions, comparable to why Hitchcock is based so seriously at the Freudian subconscious. In all, the publication positive aspects 18 philosophers paying a different homage to the mythical auteur in a fashion that’s available even to informal fans.
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Extra resources for Hitchcock and Philosophy: Dial M for Metaphysics (Popular Culture and Philosophy)
The machine has long been disabled, but the Voords, who want to use its power for their own ends, now seek to reactivate it. The Keeper sends the Doctor and his companions to find four 'micro circuits' that he has hidden all over Marinus. 'The Keys of Marinus' is an example of the picaresque in which each episode is not only relatively self-contained but also takes place in a different planetary environment: the city of Morphoton where 'people are perhaps the most contented in the universe' but where external appearances prove deceptive; a living jungle that attacks the travellers; a freezing tundra where the key is in an ice cave protected by mysterious guardians; and the petty bureaucratic city-state of Millennius, where Ian finds himself on trial for the theft of the key.
It brings to mind the fantastic worlds of children's fiction (Wonderland, Narnia, Oz) and to this extent renders Susan's excursion there safe: nothing really bad could happen to her in this magical kingdom. The Daleks, now colour-coded according to function, are also less frightening in bright primary colours, looking more like the toy Daleks flooding the toyshops in 1965 than the sinister silver-grey creatures of the television series. D. makes extensive use of locations (the Dalek rising from the Thames, for example, is impressively staged) and has a more realistic visual style appropriate to its Earthbound location.
Like all popular cultural phenomena, it was a historically specific and short lived craze. In 1966, 'Dalekmania' gave way to 'Batmania' following the success of the colourful American comic-strip series Batman. Subotsky and Rosenberg did not take up their option for a third film. The two Dalek films may have lacked the narrative complexity of the television series, but they were significant in one very important respect: they had suggested, for the first time, that there might conceivably be another 'Doctor Who'.