![]() Will argue, are such pragmatic accidents. Randomly open to every pragmatic accident.’ (1979, p. ‘reducing such as indeterminacy, whereas closed texts, even though aiming atĮliciting a sort of ‘obedient’ cooperation, are in the last analysis Significantly, Eco also notes that open texts are The closed text has a predisposition to single interpretation, while the open text Perspective of intertextuality that rejects ‘the idea of self-regulating text byĮmphasizing the crucial role intertextual factors play in the semantic actualization ofĪ text.’ ( Klinger, 1989, p. ![]() Interpretation is a part of its generative process.’ ( 1979, p. The moment of its generation qua text’ and ‘whose foreseen My use of open and closed texts is aligned with that proposed by Umberto Eco.įor Eco, in an open text ‘the role of its addressee envisaged in Through self-promotion and the potential for both digestion and interpretation of hisįor this analysis I will use the terms open and closed text, as well as the term Hitchcock’s position of near-infallibility and his control over the constructionĪnd dissemination of his content, in this article I propose that his excessive styleĮxtends to his promotional material and redefines for Hitchcock his role as artist Substantially involved in the production of his own trailers as well. 4 But these were not limited to his textual output: the director was already Those hallmarks Cahiers du Cinéma would use to label him as anĪuteur labouring under the Hollywood yoke – had increasinglyĬome to characterise his work within the US studio system. In addition, the indulgences of Hitchcock’s cinematic preoccupations – indeed It (during which Hitchcock’s influence was either on the rise or had begun to Symbolic role in this dynamic, and how they differ from trailers that precede and follow Unrestrained auteur – and here I focus on the trailer of thatįilm and others produced during Hitchcock’s ascendant position given their 2 Thus,įor the studio, its release marked the perfect storm of necessary banker and dangerously That had begun with his move to Paramount. His powers: he was already enjoying unfettered artistic freedom and personal expression Marnie and its attendant publicity comes with Hitchcock at the peak of Tranche of critical or commercial successes (and frequently both) it had also toĬontend with a marquee director who was, as Keith Johnston suggests, ‘big enough The back of a decade-long run that had taken in Rear Window ( 1954), To Catch a Thief ( 1955), The Trouble with Harry It did not seem to help that Marnie came on Kleptomania, prostitution and several indulgent subplots, their twitchiness in 1 Given that the film features marital rape, cod-Freudian melodrama, Nervous about how local audiences might receive their product. Paper, promised success given its star performers and director. In early 1964, anticipating the US release ofĪlfred Hitchcock’s Marnie, Universal Pictures had a film that, on In this way, the trailer serves as both promotional product and critical (self-)appraisal, suggesting in the textual and paratextual construction of the Hitchcock trailer an intersection of the materialism of the commercial package and the abstraction of artistic ambition. In so doing, Hitchcock promotes ostensibly ‘closed texts’ not open to interpretation while offering the potential for polysemantic renderings of such texts – opening the paratext. As the director’s influence began to grow and his own sense of authorship began concomitantly to develop, in these trailers (filmic paratexts), Hitchcock, as the author argues, increasingly makes the case for his artistic intentions, mirroring the ambiguous and excessive style of his contemporaneous filmmaking in such promotional material. But while the studios understood that Hitchcock’s appeal was a key part of his films’ selling points, his role in such content was, for the most part, a corollary to the task of having to sell a motion picture. As a filmmaker who frequently enjoyed unusual artistic control over his output, Alfred Hitchcock was known for appearing not only in his films but also in their trailers.
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