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| | The Parted Eye: Spellbound and Psychoanalysis |
 | | Spellbound is, in fact, not spellbinding, not one of Hitchcock's masterworks, not a Rear Window (1954) nor a Vertigo (1958). |
 | | Spellbound was not only, as Thomas Leitch says, Hitchcock's "most determined attempt to employ the jargon and images of psychoanalysis"(130), it was probably Hollywood's most ambitious attempt up to that time to introduce the talking cure to a mass audience. |
 | | Similarly, Constance is identified as a woman in need of rescue from the unwanted sexual attentions of other men by having her ward off the crude advances of Fleurot early in the film and those of a hotel-lobby masher later; again, however, we are present to witness these scenes, but her Oedipal rescuer is not. |
| www.sensesofcinema.com /contents/00/6/spellbound.html (4041 words) |
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