Suspense and Christian Culture: Visual Analogies in Alfred Hitchcock’s Movies

Round 1

Reviewer 1 Report

As you can see, I am very positive about this draft. A few minor things, though. The text is very lengthy. If we only take the Introduction, that is almost 250 lines. In terms of content, it is convincing and clear (among others about the concept of the analogical imagination), but I can imagine it can be presented a bit more concise. But the article makes many intriguing observations (the idea to consider suspense in spatial terms; analogical imagination vs. dialectical imagination; the white sheet symbolizing life vs. signifying death in Psycho; the fragmented body in Hitchcock vs. Christ's bodily integrity; the painting of Susanna and the Elders vs. Norman's voyeurism). One minor reference I would advise to omit, since it hardly contributes anything substantial: Rope as a metaphor for the holocaust (line 460). The discussion about the liturgy of space in subsequent paragraphs is much more interesting and relevant.

A few mistakes: Rope is in the great majority of cases written as The Rope (but the addition of The is incorrect). Jay, 1995 is missing from the lengthy bibliography. In line 720 ('Hitchock movies hands, feet ...') a word is missing; film titles in lines 795-797 should be in italics, line 170 (after note 2), there is a bracket ( which does not belong there.

I will mark 'accept after minor revision', but the required revision is utterly minor ....

Author Response

REVIEW 1

1. As you can see, I am very positive about this draft. A few minor things, though. The text is very lengthy. If we only take the Introduction, that is almost 250 lines.
2. In terms of content, it is convincing and clear (among others about the concept of the analogical imagination), but I can imagine it can be presented a bit more concise. But the article makes many intriguing observations (the idea to consider suspense in spatial terms; analogical imagination vs. dialectical imagination; the white sheet symbolizing life vs. signifying death in Psycho; the fragmented body in Hitchcock vs. Christ's bodily integrity; the painting of Susanna and the Elders vs. Norman's voyeurism). More concision in added lines 406-415, 530-536, 653-665.
3. One minor reference I would advise to omit, since it hardly contributes anything substantial: Rope as a metaphor for the holocaust (line 460). The discussion about the liturgy of space in subsequent paragraphs is much more interesting and relevant. ok
4. A few mistakes: Rope is in the great majority of cases written as The Rope (but the addition of The is incorrect). ok
5. Jay, 1995 is missing from the lengthy bibliography. ok
6. In line 720 ('Hitchock movies hands, feet ...') a word is missing; ok
7. film titles in lines 795-797 should be in italics, ok
8. line 170 (after note 2), there is a bracket ( which does not belong there. OK

Many thanks!

Feb. 8th 2024

Author Response File: Author Response.pdf

Reviewer 2 Report

This article makes a compelling case for the influence of Christian thought and culture (particularly visual) over Alfred Hitchcock's cinema. The article, quite rightly, recognizes the problem of imposing a Catholic frame on Hitchcock's cinematic work and, instead, identifies distinct visual motifs within the director's method that converge with and analogize Christian image culture. The author does this via an 'empirical' survey of a number of films in Hitchcock's 'canon,' including Psycho, Rope, and Rear Window. The survey identifies a range of aesthetic and typological influences that show Hitchcock not so much as a Catholic director but as one who inhabits a Catholic imagination. To enhance the theoretical framing of this argument, the article appeals to David Tracy's analogical imagination. 

In general, this is a fine analysis of the issues and the paper is worthy of publication with minor modification, which may be carried out to the satisfaction of the editor. In order to enhance the argument, I would suggest some theoretical and structural refinements: 

1. The abstract of the article could be refined to explain more clearly the author's approach and intention. Some of the language here is tentative and obtuse, making it difficult to understand the direction of the argument. For example, the sentence: 'The visual analogy opens an interstice of ambiguity to understand the difference between the physical space and the existential place of suspense and thus create a kind of cinematographic mental geography.' This took me a few readings to connect with the central contention of the article. The author should revisit these statements and make them a clearer indicator of what they are attempting to do. My sense is that the article understands cinema as a kind of mental, psychological, or spiritual cartography/geography and this is how it connects to the theme of space (i.e. the cinema not just as analogous physical space but the experience of viewing as a space). But it could be made clear and, indeed, integrated further into the argument.

2. In terms of the theoretical arguments, there are some very interesting points opened by the introduction. In many ways, these are the frames which make the remaining analysis possible. The author should consider devoting a section in itself to the Analogical Imagination as the article's guiding theoretical frame. 

3. Leading on from the previous point, it would be helpful to acknowledge some ideas or approaches to the Christian imagination in cinema more broadly. In, for example, Paul Schrader's Transcendental Style in Cinema, André Bazin's "Cinema and Theology: the Case of Heaven over the Marshes" (available here: https://digitalcommons.unomaha.edu/jrf/vol6/iss2/15/) which while focused on one particular film offers a frame to understand the Christianity/Cinema relationship. This article's focus on space and analogy should be acknowledged against this backdrop. 

5. There are some (relatively minor) points in the article that might need some revisiting.

a. Line 40: I think the Reformation is the better technical term in English than 'Reform'

b. Line 51: I would like to see the comment on the Middle Ages and mystery be explained further (it is an excellent point). 

c. Lines 67-70 are an example of a sentence that requires greater clarity of expression. What does 'community elements' mean? Is 'community' enough here to make the point clear? There are other examples of unclear sentences in lines 103-105. 

d. Lines 109-118 make excellent points about the Kantian concept of suspended judgement but are rendered in a manner that makes them difficult to follow. The author should revisit this paragraph to make the elements clearer. 

e. I think the allegory of the passion as a recurring thread in Hitchcock's visual analogies should be more clearly emphasized from the outset. 

f. Lines 664-664 mention the 'body of the Messiah,' but really it should be the body of the Passover lamb, interpreted in the Christian tradition as the Messiah and personified in Jesus. This is a better rendering of the historical complexity around the idea and avoids a supersessionist reading of the Jewish tradition. This should be kept in mind re. the idols of Israel. The better rendering of the sentence is the idols of Israel within (rather than 'and') Christianity. This should be acknowledged in the case of Susanna also. 

In the general comments, I have flagged some (generally minor) issues of clarity and sentence structure which may need work. 

The author should review the piece for sentence clarity and structure in general as, on occasion, some points are difficult to follow. In general, however, the English quality, is good. 

Author Response

REVIEW 2

Comments and Suggestions for Authors

This article makes a compelling case for the influence of Christian thought and culture (particularly visual) over Alfred Hitchcock's cinema. The article, quite rightly, recognizes the problem of imposing a Catholic frame on Hitchcock's cinematic work and, instead, identifies distinct visual motifs within the director's method that converge with and analogize Christian image culture. The author does this via an 'empirical' survey of a number of films in Hitchcock's 'canon,' including Psycho, Rope, and Rear Window. The survey identifies a range of aesthetic and typological influences that show Hitchcock not so much as a Catholic director but as one who inhabits a Catholic imagination. To enhance the theoretical framing of this argument, the article appeals to David Tracy's analogical imagination. 

In general, this is a fine analysis of the issues and the paper is worthy of publication with minor modification, which may be carried out to the satisfaction of the editor. In order to enhance the argument, I would suggest some theoretical and structural refinements: 

1. The abstract of the article could be refined to explain more clearly the author's approach and intention. Some of the language here is tentative and obtuse, making it difficult to understand the direction of the argument. For example, the sentence: 'The visual analogy opens an interstice of ambiguity to understand the difference between the physical space and the existential place of suspense and thus create a kind of cinematographic mental geography.' This took me a few readings to connect with the central contention of the article. The author should revisit these statements and make them a clearer indicator of what they are attempting to do. My sense is that the article understands cinema as a kind of mental, psychological, or spiritual cartography/geography and this is how it connects to the theme of space (i.e. the cinema not just as analogous physical space but the experience of viewing as a space). But it could be made clear and, indeed, integrated further into the argument. Ok Cf. lin. 5-18

2. In terms of the theoretical arguments, there are some very interesting points opened by the introduction. In many ways, these are the frames which make the remaining analysis possible. The author should consider devoting a section in itself to the Analogical Imagination as the article's guiding theoretical frame.I just added more and ideas in lin. 406-415, 530-536, 653-665.
3. Leading on from the previous point, it would be helpful to acknowledge some ideas or approaches to the Christian imagination in cinema more broadly. In, for example, Paul Schrader's Transcendental Style in Cinema (See lin. 85), André Bazin's "Cinema and Theology: the Case of Heaven over the Marshes" (available here: https://digitalcommons.unomaha.edu/jrf/vol6/iss2/15/) which while focused on one particular film offers a frame to understand the Christianity/Cinema relationship. This article's focus on space and analogy should be acknowledged against this backdrop. ok

5. There are some (relatively minor) points in the article that might need some revisiting.
6. Line 40: I think the Reformation is the better technical term in English than 'Reform' OK
7. Line 51: I would like to see the comment on the Middle Ages and mystery be explained further (it is an excellent point). OK. Cf. Lin 66-71.
8. Lines 67-70 are an example of a sentence that requires greater clarity of expression. What does 'community elements' mean? Is 'community' enough here to make the point clear? There are other examples of unclear sentences in lines 103-105. Please, see lin. 156-160
9. Lines 109-118 make excellent points about the Kantian concept of suspended judgement but are rendered in a manner that makes them difficult to follow. The author should revisit this paragraph to make the elements clearer. Added footnote in lin 130.
10. I think the allegory of the passion as a recurring thread in Hitchcock's visual analogies should be more clearly emphasized from the outset. ok
11. Lines 664-664 mention the 'body of the Messiah,' but really it should be the body of the Passover lamb, interpreted in the Christian tradition as the Messiah and personified in Jesus. This is a better rendering of the historical complexity around the idea and avoids a supersessionist reading of the Jewish tradition. OK. This should be kept in mind re. the idols of Israel. The better rendering of the sentence is the idols of Israel within (rather than 'and') Christianity. This should be acknowledged in the case of Susanna also.OK!

Comments on the Quality of English Language

In the general comments, I have flagged some (generally minor) issues of clarity and sentence structure which may need work. 

The author should review the piece for sentence clarity and structure in general as, on occasion, some points are difficult to follow. In general, however, the English quality, is good. 

Author Response File: Author Response.pdf