Dial M for Murder
The detective thriller, the postwar uncanny, and 3D cinema
Bibliographic Data
| ID | 21783255 |
|---|---|
| Authors | Kristen Whissel (University of California, Berkeley, corresponding author) |
| Year | 2022 |
| Volume | 20 |
| Issue | 1 |
| Pages | 49-62 |
| Publication date | 2022-01-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | New Review of Film and Television Studies (JOURNAL) |
| Journal identifiers | ISSN: 1740-0309 • E-ISSN: 1740-7923 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/17400309.2021.1993433 |
| OpenAlex | W4214587853 |
| Language | EN |
| References cited | 16 |
In Alfred Hitchcock’s Dial M for Murder (1954), 3D facilitates the film’s organization of the scopic and epistemological pleasures of the detective thriller around the perceptual experience of the uncanny. By filtering its décor through stereo-aesthetics, Dial M articulates a postwar dread of dispossession, challenges the spectator’s efforts to feel ‘at home’ in the depicted space and in the space of reception, and dramatizes how the (violent) violation of boundaries and the anticipation of homelessness shaped the experience of postwar modernity
Aesthetics · Art · Art history · Dystopia · Epistemology · Literature · Modernity · Movie theater · Perception · Uncanny · Uncanny valley · Cinema and Media Studies · Computer Science · Crime and Detective Fiction Studies · Digital Games and Media · Philosophy
| Citation velocity | historical |
|---|---|
| Highly cited | No |