ヒッチコック映画論：ドゥルーズ哲学と心的諸関係
について
著者
ブラッドリー ジョフ・ピーター・ノーマン
著者別名
BRADLEY Joff Peter Norman
雑誌名
東洋大学人間科学総合研究所紀要
号
16
ページ
111-130
発行年
2014-03-24
URL
http://id.nii.ac.jp/1060/00006440/
Creative Commons : 表示 - 非営利 - 改変禁止 http://creativecommons.org/licenses/by-nc-nd/3.0/deed.ja東洋大学人間科学総合研究所紀要第16号(2014)lll-130
HfbrHitchcock:purecinemaandmentalrelations
＊ BRADLEYJoffPeterNonnan lll ""co"cep//sqsig",Qfcoz"se.B"/we〃の》/α舵asig"/"so"oqdqse"ser加〃ﾙe伽e切花rα"/q/"is"o/q /〃o"g肱加rα"αC"o〃o/"expe"e"ce,orwe"7の'eve"soe"/α堰erﾙe"!eα"i"gqfsig"r/W施/"re切花/α"〃Sα"e花 9"α"〃Q〃をe""9.(Peirce,1958,p.332) oh,晩α':脆've6eco"'eα'･aceqf此ep加g7b"7s.〃ﾉﾙα/peOp/eo"gﾙ〃o伽jsgero"獅旋/ﾙe//"ow"ルo"sea"〃COル j"/bγαcﾙα"ge.(Stella,[ThelmaRitterl,Jeffiies'nurse,inR""肋"伽w) 777eg'℃a/d"ecrorsq//ﾙecI"e耐α加叩beco"Tpαﾉで臥加o"rweM；〃or〃7eだかw肋加"7rerS,qrCﾙ"easα〃 ""ｲs〃α"s,6z"α肋w"ﾙrﾙﾉ"〃e,汐.剛eWﾙ/"kw"ﾙ",ove"7e"ﾉｰ加agesα"伽加e-伽αges伽彪αdqfco"ce".(Deleuze, 1986,p.xiv) C/"e"7q/e/ksro"esw"ﾙ6/oc肋Q/"'oye'"e"r／伽rα"o".(Deleuze,〃ﾙα〃sr"eO℃α伽e4c/?) Inrecentyears,Al廿edHitchcock'sneurosesandpathologieshavelikedirtylinenbeenairedfbrallandsundry toview.Itisthefashiontodiscredittheman,nottheartist.Indoingsothisofiendrawsfilmsmdiesawayfiomthe splendourofHitchcock'svisionandtechnique.Ishallnotetwoexamples,althoughtherearemanymore,bothin academia,andinthepressandmedia,thelatterofwhichcatersall-too-oftenfbrthiskindoftediouslyreductivet
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Americanmodelandactresswhoalsoappearedinthecritically-acclaimedmastemiece777eBﾉﾉ油(1963).After HedrendeclinesHitchcock'sovertures,thefilmportraysHitchcocksuljectinghertomomentsofpsychological tortureandbullying. *AlecmrerintheFacultyofLiterature,andamemberofthelnstituteofHumanSciencesatTbyoUniversity112 − 勢州鐵;《 ゞi:壼篭 PictureA 哨叫,',l7FF 東洋大学人間科学総合研究所紀要第16号(2014) TheinfatuationistortuouslyprolongedasHitchcockworkswithHedreninhisnext production,MW"/e(1964),whereunrequiteddesireeffectivelyruinstheirprofessional relationship.IntheFox-made61mproduction"/cﾉ7cock(2012),starringAnthonyHopkins asHitchcock,thedirectorcomesacrossasvoyeuristicandcovetousofhisblondelead, JanetLeigh,whoplaysMarionCrane,duringthemakingoftheshockerPSycﾙo(1960), (SeePicmreA).Shownasasexualpredator,heisportrayedasviolentandsadistictoward hiscrew・BothfilmsconstructHitchcockasthearchetypalplaythingfbrpsychoanalysis:the 勺 dirtyoldman,holdingapreordainedtriangleofdesire.' However,thisapproachappearsperfilnctoryandtheauthorofthisessaywishestolookto
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ofifnotthe,greatauteurgeniusesofmoderncinema・Theabovecommentsdonotdismiss feministorpsychoanalyticanalysesonthenatureofthegazeperse,butthedesignofthis paperistoretrievethephilosophicalimportofHitchcockviaGillesDeleuze'sseminalc
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Ozu(小津安二郎)andhowHitchcocksharesmuchwithltalianneorealismintheway heparalysesthecharacterdiegetically・Inpost-warcinema,Deleuzepointstoltalianneo -realism,toRossellinie/q/,asthereisaperceivedbreakingofthelinkbetweenperception andaction.Charactersaredisorientated,situatedinacatastrophicenvironmenttheyno longerunderstandethically.Thereisaresultantlossoffaithorbeliefintheworld,alossin truenarrative. ema(explainedintermsofthemovementimage)−けomtheWestandJapan(Ozuand Usingclassicalcinema(explainedintermsofthemovementimage)−丘omtheWestandJapan(Ozuand theemergenceofthetime-image)-andPeirciansemioticsasmystartingpoint,andasalabourofloveand love'sworkofHitchcock,OzuandDeleuze,thefbcusofthispaperistherefbreonエイチratherthanエッ チ.LookingbeyondthetriangulationsofFreudianpsychoanalysis,theover-codingofthemalecovetousgaze, thequestionariseshowbesttounderstandHitchcock．Isitthroughthelensofthesymbolic,iconic,semiotic,or psychoanalytic？Representativeofwhatandtowhom？Mytakeonthisisasfbllows：Ifoneescapesthelowest commondenominatorofindulgent,luridinterestinthedirector'seroticfantasyworld,oneisbettersuitedto considerthemorephilosophicallyprobingquestionofhowfilmsthink.Andasweknow廿omStanleyCavell's analysiswatchingcinemaisaphilosophicalact.Ithasmuchtodowiththinking.A
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thirdeyeandthefburthdimensionoftime.WhatHitchcock'sworkineffectproducesisnotonlythescopophilia ofthespectator,whoderivespleasure廿omlooking,butalso,andmoreimportantly,mentalrelations,apure cinemaorthought.PiCtureB BRADLEYJoffPeterNonnan:HfbrHitchcock:purecinemaandmentalrelations ll3 Knife7 ノ〃eα〃〃so"e//7/"gro6zO/cﾙoco/qreso"/QMo"応'伽/"'s9""eα"orﾙeJ"/os"ckqシ 肋舵加oqge"池"?α〃..."goocic/eα",ルo"esrw/Iqckove/･r/le/7eaJw"〃α6"cMso"e ， /方/"g.777eノセS”"7e伽"gB""sルα加"///7qr.BI〃ん伽“…〃叩e,k"んes/s"orrjgﾙr.I "7"s/sqW/7q/'sll加〃/ﾙﾉ"kα〃rﾙαr'SWﾙα〃たe/.〃ﾙareveバルe〃℃,》｡cα"｡"ノcol〃"eve7 "seqk"旅.Nowﾉ"i"")》o〃α肋推/sqcWc"〃伽"groルα'〃e…肪旋…k"旅…k"旅… (noseyneighbourinB/qckﾉ"q//,1929). IshallexamineanarrayofHitchcock'sfilmsthroughDeleuze'sphilosophyandC.S Peirce'ssemiotics,startingwiththelatterandthematteroftheknifeinB/αcえ"7α".Inthe famousknifesequenceinB/qc肋7α〃(PictureB)-Britain'sfirst.talkie'-thereisalready theexpressionisticmanipulationofsound,distortionintheringingbellsandtheshrieksof language-techniqueslatertocharacterisemuchofHitchcock'soewwで.Thefbllowingis abriefsynopsisofthescene:Inabidtomaintainthesemblanceofnonnality,AliceWhite (AnnyOndra)eatsbreakfastwithherparentsintheshop'sparlour;thepreviousdayshe killedthemanwhotriedtorapeher.Thecamerahonesinonthemurderer;Alice'sguilt -riddenfacesignifiesitisthroughherearsthatwehear.Aneighbourdiscussesthelatest hearsayandrepeatedlyutters@knife';itsearsintoAlice'sandthespectators'minds.Alice fightstoresistthetonnent-theactionstallsandthetensionbuildstothepointatwhich thecharacterisreadyroαα.Thepotential/"ﾙeでsinthismomentuntilshecracksand throwsthebread-knifeoutofherhand.Theknifeonthetableisthreatening.Itcancut andkill.Inthis$mentalimage'itisnotsomuchthatthethoughtsofthecharacterare revealedbutthesoundofthewordknifeisasignthatsignifiestheobjectwhichkilleda manandthepresenceofqknifeonthetable(Colebrook,2006,p.70-71). TheaudienceestablishesarelationofsigntoitsoIJect(thesonicmatteroftheshriektotheominouswielding oftheknife).Aliceandtheaudiencearethethirdrelation.Thisfbrmofcinemaproducesanimageofthevirtual. Theobjectsproperfbrthementalimagearerelations,｡symbolicacts,intellectualfeelings.UsingPeirce's Theobjectsproperfbrthementalimagearerelations，symbolicacts,intellectual従elings.UsingPeirces tenninologywecansay,therecanbeactions/reactionsifthereisapotentialpowertoact(firstness),andtherecan onlybeperceptionofrelationsifrelationshavebeenacmalised(secondnessoracmalfact);buttheperceptionof relations9"αrelationsopensthescenesuchthatthespectatormayfinallythinkbeyondthemovementspresented. InHitchcock'sfilms,inthefbrcesofrelationsthereisanimageofthirdness(thebeingoflawthatgovemfactsin thefilmre).Theschemefirstness,secondnessandthirdnesscanbeexpressedmoreeconomicallythus:possibility, existentandlaw.ForDeleuze,therearenotjustmovementsortendenciestomove,butsystemsor廿ameswhich holdthosemovementstogether.Moreover,whatwediscoverintheknifesceneistherecombinationofmarksand
ll4 東洋大学人間科学総合研究所紀要第16号(2014) sounds,producingasurplusvalueofsense(Deleuze,1990).Importantlyjtheacmalandmaterialfbrcesproduceall incomorealtransfbnnation,anewvirtualworldofsense.ltis"knifebutonethatrecallsthekillingoftherapist andtheactthatstabbedaknifeintohisbody,cuttingHeshandmeat.Backintheparlour,theknifeisfbrcuttinga loafbutoncewieldedbythemurderer,itcreatesaregimeofcrimes,cdminals,lawsandjudgements,verdicts:it manifestsanincomorealevent. Inthebackgroundthereistheshriekingofpainwords-knife!knife!knife!Theaffectivequalitiesofthe knife:shamnessincuttingnotonlybread,butthehorrorofarecentmemoryandthemeatofacorporealbeing constimtepuresingularqualitiesorpotentialities,pure:possibles'(Rio,2008;Deleuze,1986,p.102).Thevolume oftheutterance@knife'isincreased,engineeringanewthoughtinthespectator.Thesonicmatteropensoutonto thevirtual.Atthisjuncmre,letusremindourselveshowDeleuzerethinksPeirceintennsofhisownsemiology ofsigns.Firstnessisanimpressionisticandasensiblesignlinkedtotheaffection-imagefbund,fbrexample, intheexpressionsofAlice'sface(faciality).SecondnessiSthesigntowhichthisaffectiongivesrise,namely aperceptionofaction.Heretheknifbisheldfbraparticularreason.Thesignofthirdnessgoesbeyondaction tofbrmmentalrelations,judgments,andsoon.Herethereisacomplexinterplayofknife,knifewielder,the repetitionofsonicmatter-hife!knife!knife!-andtheintuitionthatsomethingwillhappen. Assecondnessorhaecceity-whichincludesfirstnessasthatwhichhasbeendetenninedorbroughtinto existenceasathing-itisatoolfbrbrandishing,cutting,slicing,stabbing,lacerating.Intermsofthirdness, symbolicallyitisthemurderweapon,nolongerabreadknifebutthememoryoftheknifewhichkilledtherapist. Thissymbolisesmeditatively9"αprospectiveactionthethreatofbeingcaught,heractionsexposed,her廿eedom curtailed.Theknifeinteractswiththebreadbutterandisaffectedassuch.Thereisamaterialityoftherelation, theknifeaffectsthebreadandisaffectedbythematerialityofthebrutethingasithasto"resist'thebread's characteristics.Theknifeonthetablecancutandkill."/ﾉ"℃"e"s.Itis.a'threat・Whatisimportanttonotehere isthementalimage'srelationtotheimageofthevirtual.Onthispoint,HitchcockexplainstoFrancoisTruffaut (1967)thatheisopposedtoactorsoractressessimplyconveyinginnerfeelingstotheaudiencethroughfacial expressions.Inthisway,theaudiencecomestounderstandthattheytooareawareofthe.meaning'oftheknife. HitchcockexplainstoTruffaut: 7VIewm"gwqy/ogoa加卿〃肋sce"ewoz〃加vebee"/oルαVerﾙeﾉ7ero/"eco"vey/Jer/""”たe""gFrorﾙe α"仇e"cehy/7erjZIciα/expressio".1'伽αgal"s〃加/､肋形α//i/b,peop/e'sjZMces伽"'rreVeα/w加〃ﾙeW力加虎o『たe/， 小α〃胴di花αo〃"?"s〃〃/oco"veW/7iswo碗α"'S伽",eQ/伽”ror〃eα"成e"Ce帥〃花かc/"e〃α"c〃eα"s… 肋α"ksro"7ecq"7em,rﾉ7ep"Mc/s"owαα"α/か/M"g/ﾙesce"e，
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thepurviewofthedirectoristoconveya@fiameofmind'totheaudiencebypurelycinematicmeans'.ThescenePictureC BRADLEYJoffPeterNonnan:HfbrHitchcock:purecinemaandmentalrelations ll5 inStJ加rqgewhereMrs.SylviaVerloc(SylviaSidney)decidestokillherterroristhusband KarlVerloc(OscarHomolka)withaknifeiscitedbyHitchcocktoexplainthatthecamera fiamesherhand,eyes,andmovesbackandfbrthbetweenthetwountil@suddenlyherlook makesitclearthatshe'sbecomeawareofthepotentialmeaningofthatknife'(Truffaut, l967,p.111).ThecamerathenpanstoMrVerloc,whoiseating,andbacktothehandand theknife. ThisinterpretationclearlycompareswellwithDeleuze'sidiosyncraticreadingofthe historyofcinema,whichinsiststhat@purecinema'conveysnotonlyactsoremotionsbut also//7e"7ec加"/s"7sqﾊﾙo"g/7/.Cinemaisathinkingmachine.ItfbllowsfbrDeleuze
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ofoqectsandsignsbuttheintemretantorthought,themental-imagethatisgenerated. AtthebegimingofReqr肪"伽w(1954),Deleuzewritesthatthecamerapansaroundthe courtyardandsearchestheapamnentoftheimmobilisedJeffJefferiesashesleeps.For Deleuze,itisthecamera,andnotthedialogueinHitchcock'sfilms,whichexplainswﾉZy (Deleuze,1986,p.201).Importantly,thereisakindofautonomouscamera-consciousness motionindependentofthecharacters'desire.Mentalrelationspertainnottotheanalytical deconstructionoftheHitchcockiancameragazebutbelongontheplaneofaffectsand percepts.Onthispoint,Hitchcock,inlengthytalkswithTruffautregardingRec"肋"伽W saysitisentirely@amentalprocess,donebyuseofthevisual'.Heinsists: "yo〃'で"e加加rαβ伽I〃α火yea応agocα"“此α'､〃"WM；w"c/7w"q///i℃'”//7e〃j"iQwewQfo"e〃α"’ ん"7esS/ewa砿s"""gl〃αwj"伽Ⅶ〃ｾﾉ〃7e/7qd/o/ook,/ﾙe〃IルaJroc"rjow加//7esqW//ie〃α〃加c肺oルis 形αc伽".NOWw加〃w“ノセα/か伽加gwqs.Fﾙow加gα籾e"〃"ocessQMemα",帥meα"sQ/piα"res,hyw/Iqrﾙe S a W Ineffect,whatheseesisamentalprocess@blownupinhismind'.JamesStewartasJeffifiesdoesn'temoteas suchbutmakesthecamerashowtheviewerwhatheisineffectthinkingandpeeringat.Expressedbythemaster himselfHitchcocksaysinthefirstinstanceyouhaveanimmobilisedmanlookingout.Thesecondpartshows whathesees.Thethirdparthowhereacts.Hitchcocksaysthisisthepurestexpressionofacinematicidea.For him,他αr肋"dbwis&strictlypurecinema'(Stevens,2006,p.268):,Youdoaclose-upofJamesStewart.Hel
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designatesasnoosignsorthought-signs-whicharisewhenmovementunfUrlsbeyondtheconventionsofspatial extensiontointensivethoughtitselfForDeleuze,Hitchcockineffbctperfectedtheaction-image(secondness),BRADLEYJoffPeterNorman:HfbrHitchcock:purecinemaandmentall･elatiolls 117 Atthisjunctureletussummarisetheabove.InB/qc伽αﾉ/,Hitchcockisalreadydeveloping,improvisingand creatingnewcinematictechniques;alreadymanipulatingthedesiresoftheaudience.Indeed,accordingtoJean
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Hitchcockdesirealwaysintervenesinmeaningandlogicalrelations.Thelogicalprocessesofinductionandd
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areamatterofintemretation,@丘ombeginningtoend'(Deleuze,1986,p.200)."
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ThevaseinLq/e助""g(1949)(PictureE)conveyspuretime.Thesceneindicateshowweinhabitandoperate withintime・OzuisanalysedbyDeleuzeintennsofthewayheutilisesspace.Suchdisconnectedspacesare122 東洋大学人間科学総合研究所紀要第16号(2014) exploredbythecamera:theybecomeany-space-whatevers(eSpqce9"e/co"9"e).Onespacebecomesjustasgood asanotherandthisdisturbsDeleuze.Ozu'sspacesaffbrdpurecontemplation.Whatremainsistheany-space -whatever,thescreenin廿ont,theparalysisofrelations,thenon-place(Bradley,2011).Chaoscannotbeorderedin landscapesdestroyedbywarorincitieslaidwastebymOrtar6re,aerialassaultsortheA-bomb(Deamer,2008,p. 371).Despitethesomewhatarbitraryperiodisationofcinemapre-orpost-WorldWarll,Deleuzeclaimsthatthe SecondWorldWarmarksthecollapseofthesensory-motorschemaandwiththatmomentpassed,thetime-image inWestemcinemabeginstoemerge.Amoredetailedbreakdownofthetransfbnnation廿omclassicaltomodern cinemaiscategorisedbyDeleuzeasfbllows:aroundl948inltaliancinema,1958withtheFrenchNewWave,and aroundl968withNewGennanCinema.Astheinventorofopsignsandsonsigns(visualandauditorycomponents 29 ofatime-imagefilm),Ozu'scinemamanifestspurelyopticalandsoundsimations,whicharestrictlyactionless. Deleuzewillcometoconsiderthiseventasprovokingsomethingintolerableandunbearable.He(1989,p.19) wntes： ""ew"eQfc/7"ααeﾉ-./b'･α〃ewc"?e"'α,hjsbecα"sewﾙαrﾙq"e"s/o//ie加伽es"o/be/o"gror/le腕α"do"か 加〃CO"Ceγ"”he"7,6eca"Se/ﾉ？〃k"ow/7owroex"αα/細”ﾉﾙeeve"〃ﾙe〃〃ﾉﾙα/Ca""orbe陀伽cedrow/W 加卯e"s,．/ﾙα/〃〃Qf加ex〃α"s"6/eposs/〃/〃ﾉﾙa/co"s/""/esrﾙe""6e"q6/e,r/7ejmo〃α6/e,r〃ev/sio"α〃'spq". Throughthedestructionofltaliancities,theshatteringoftheAmericandream(theaction-imageindefinitive crisis),andthelackoftrustindemocracy,modemitysignifiesthecollapseoftrustandconfidenceinbeliefitself IntheprefaceofCj"e〃α2,Deleuzefindsinthepost-warperiod,amyriadofsimationsinwhichcharactersin filmsnolongerknowhowtoreact,andaprolifbrationofspaceswhichtheynolongerknowhowtodescribe.The conditionsofmovementhavechanged.Deleuzewrites(1989,p.166):"Wedonotevenbelieveintheeventswhich happentous,love,death,asiftheyonlyhalfconcernedus・Itisnotwewhomakecinema;itistheworldwhich Iookstouslikeabadfilm." Abrokenlinkexistsbetweenmanandtheworld(Deleuze,1989,p.172).Modemmanhasabeing-in-the-worldalbeitonedominatedandpetrifiedbypureopticalandsoundsimations.ThisissototheextentthatDeleuze findsanewraceofmutantcharactersinearlymoderncinemawhoperceiveratherthanacted,.theywereseers'. Crucially,thepowerofmoderncinemaisnottoproduceillusionsanddreamsbuttorestoreabeliefintheworld andtoreconnectmantowhatheseesandhears.Itisnotsomuchthequestionofhowcinemamanufactures illusionsbutratherhowitrestoresbelief(Deleuze,1989,p.176).Onthispoint,itcanbesaidthatalthoughwe mightfindourselvesuncomfbrtablewiththereductionofthehistoryofcinemaintoabroaddistinctionbetween movementandtime-images,itisworthwhiletorememberthatDeleuzeisnotsuggestingthereisaprecise historicaldistinctiontobemadebetweenclassicalandmoderncinemabutratherisnotingthelackofbeliefin theaction-imageassuch-apointwhich,Ithink,Ranciere(2006)andotherscruciallymiss.Indiscussinghowto
PictureE BRADLEYJoffPeterNonnan:HfbrHitchcock:purecinemaandmentalrelations 123 respondtotheintolerable,WimWendersfindsitisOzuwhodepictsthetransfbnnation oflifeinJapan,theslowdeteriorationoftheJapanesefamilyandnationalidentity.ltis afmctionofcinematomakeusfeelthatsomethingisn'tright.Onthispoint,Wenders
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mentalrelations,we伽dHitchcockasoneofthefbundingfathersofcinema,anauteurgenius.Moreover,1believe wecansaveHitchcockfiomthereductionistbilgewhichfailstothinkfilmasphilosophy,asathinkingthing, whenwethinklessaboutthegazeofthemanbehindthelensandmoretodowiththelensthatthinks,guides, desires,anddirectstheviewertocovet・ToreduceHitchcock'smastemiecestoanothercaseofmaletriangulated desireandlittleelsesadlymissesthepoint.Hitchcock'scinemaispz"℃asitoperatesthroughmentalrelations. WhileDeleuzeunderstandsthisandthinksitwithPeirce'sassistance,Zi乞ekhastoreintemretLacantogetatthe real.124 東洋大学人間科学総合研究所紀要第16号(2014) WehavefbundthatHitchcockplaysacentralroleinDeleuze'scartographyofthecinema.Hitchcockremains thought-provokingprimarilybecauseoftheperceptualinnovationsinhislife'swork.Theideathatthecameracan manipulatethespectatorisonewhichcompelledDeleuzetothinkaboutfilm'sconnectionwiththebrain.Thetask ofthephilosopheristothinktheseconceptsandtocreatesignswhichtranscendtheirsignification,togobeyond them,tofbnnnewideasandcouplingSpertainingtobothcinemaandphilosophy:tofbnnulateabecoming-cinema ofphilosophyandabecoming-philosophyofthecinema.Tofabricatethenew.Fabricatingandfabulatinga廿esh anduniquewaytoviewtherelationshipbetweenphilosophyifilmandaesthetics,Deleuzethinkscinema9"αart fbnnintermsofitsencounterwithphilosophy:asamumalbecoming.Filmaltersourmodesofthinkingabout movementandtimebecause-asamanifestationofpurethought,pureimmanenceandsensation-cinemathinks withaffectsandprecepts.Intennsofneuroscience,thebrainisseenas@acontinuouslychangingprocess'andone .filndamentallyconnectedtomovementandtime'(Pisters,2012). Followingon廿omBergson,Deleuzeconsideredcinemaasameanstoperceivetimeandmovementasawhole. Thequestioniswhataffectsarecreatedinartandwhatperceptsareproducedinphilosophy.Philosophybecomes
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asksmanyquestionsabouthowimagesaffectthediagramofbodyandbrain,perceptionandmemory.BRADLEYJoffPeterNonnan:HfbrHitchcock:purecinemaandmentalrelations 125 BibliOgraphy Allen,R.,&Ishii-Gonzales,S.(2003).〃"c/7cock.･Pqs/α"dF"""で.London:RoutledJ. Badiou,A.,&Tbscano,A.(2005).〃α"dbookq//"αes//7e"cs.Stanfbrd,CalifStanfbrdUniversityPress. Bogue,R.(2003).De/e"zeoﾉ7c/"e"1q.NewYork:Routledge. Boりkovac,N.(2013).[ﾉ"""7e4'"4jbc".｡G///esDe/e"zea"dα"Er/7/csQ'C/"e"7q.Edinburgh:EdinburghUniversityPress. Bradley,J.(2012).無場所のトランスナシヨナルカルチユラルヒストリーについての研究，東洋大学人間科学総合研究 所紀要(14),47-60. Carroll,Noel.@Film/MindAnalogies:TheCaseofHugoMunsterberg'.ん"ﾉ""q/Q/"esl/ie"csα"d""C""C/S"46.4(1988):489 -99． Deamer,D.(2008)"TheSpectreoflmpossibility,Deleuze,JapaneseCinemaandtheAtomBomb',Unpublisheddoctoral dissertation,ManchesterMetropolitanUniversity. Deleuze,G.(1986).C/"eﾉ"α/.･//7e"7ove"7eﾉ"-/"7qge.Minneapolis:UniversityofMinneSota・OriginallypublishedL'ﾉﾉ"age‐ 〃7oz"e"7e"『.(1983). Deleuze,G.(1989).C加e"7q2.･//7e〃ノガ2−""age.London:Athlone.OI･iginallypublishedZ,'i"7qge-/eﾉ"s.(1985). Deleuze,G.(1990).777e/og/cQfse"se.NewYOrk:ColumbiaUniversityPress.OriginallypublishedLogiquedusens(1969). Deleuze,G.(1995).NEgo"α"o"s,/972-I990.NewYork,NY:ColumbiaUniversityPress.OriginallypubliShedPoz"pqﾉ．/e"s(1990). Deleuze,G.,&Guattari,F.(1983).Anti-Oedipus:CapitaliSmandschizophrenia.Minneapolis:UniversityofMinnesotaPress. OriginallypubliShedL'anti-Gdipe,1977. Deleuze,G.,Guattari,F.,Tbmlinson,H.,&Burchell,G.(1994).Whatisphilosophy?.NewYOrk:ColumbiaUniversityPress. OriginallypublishedQu'est-cequelaphilosophie?.(1991). Deleuze,G・(2006).,&LapoUjade,D.(2006).7Woreg/"'esQﾉ"αcW7ess.･7tWsq"〃/"rerv/ews/975-1995.LosAngeles,CA: Semiotext(e.OriginallypublishedDe"xﾉ･空""“火/b"se/α""でsrex"(2004). Deleuze,G.,&McMuhan,M(OctoberO1,1998)､TheBrainlstheScreen:InterviewwithGillesDeleuzeon@TheTime-Image'. D/scoz"汐e,20,3,47-55. Elliott,P(2011).〃"cﾙcockα"α/ﾙeC/"e"?qQ/.Se'7sα"o"s.･E"76odiedF""7777eon'α"〃α"e碗α"cRecep//o".London:1.B.TauriS. EIsaesser,T・(28thNovember2012),FilmandPhilosophyAfierDeleuze,IKKMlecture. EIsaesser,T.,&Hagener,M.(2010).Filmtheory:Anintroductionthroughthesenses.NewYork:Routledge. Evans,B.,&Reid,J.(2013).De/e"ze&jZMsc/s/w.･Sea"加wq/;qes//7e//cs.London:Routledge. Flaxman,G.(2000).77?e〃αj"/sr/7escJでe":De/e"zeq"d//7epﾙ"osQpﾉIVQ/c"7e"7q.Minneapolis:UniversityofMinnesotaPress. HemedeLacotte,S.(Fall2005).:EpsteinetDeleuze,cinemaetimagedelapensee.'Cﾉ7/"7eノゼs57,76-77. Jagodzinski,J.(2012).Ayc加α"α"ご/"gc/"e"7q:4pmdi/c"vee"co""/eﾉ･肌'"ﾙLacα",De/e"ze,α"d"ek.NewYOrk,NY:Palgrave Macmillan・ Keller,S.,&Paul,J.N.(2012).Jeα"助sre/".．α"jcq/es""q"d"ew〃α"s/α"o"s・Amsterdam:AmsterdamUniversityPress. Kennedy,B､M(2000).De/e"zea"dc/"eﾉ"α・・771eα“'ﾙe""Q/.se"""o".Edinburgh:EdinburghUniversityPress. Kennedy,B(2002).℃horeographiesoftheScreen'.IowaJournalofCulturalSmdiesI(2002):63-77.Availableat:http://ir.uiowa. edu/1cs/voll/issl/7(accessedlO-22-2013). Kolker,R.P.(2004).""c/""c"cocA'spq)'c"o．･"cqsebook.NewYork:OxfbrdUniversityPress. Liszka,J.J.(JanuaryO1,1990).Peirce'sIntemretant・刀α"sac"o"sq/I力eC"『/esS.Pe"℃eSbc/e"26,1,17-62.
126 東洋大学人間科学総合研究所紀要第16号(2014) Marks,J.(1998).Gj//esDe/e"ge・London:Pluto・ Misak,CJ.(2004).耐eCα"76"吃eco"ゆα"/o"/oPe"℃e.Cambridge,U.K:CambridgeUniversityPress. Mulvey,L.(1989).I/is"α/α"〃o//7eﾉ麺p/e""だs.Bloomington:IndianaUniversityPress. Munsterberg,H.,&Langdale,A.(2013).〃"goMMzｲ""eﾉ"6eJgo"F"胴.Hoboken:TaylorandFrancis. Peirce,C.S.,Hartshome,C.,&Weiss,P.(1933).Cb//ec/edpqpersQ/Chqr/eFStJ"咋応Pe"re:I'b/""Te3,レb/"〃e4.Cambridge (Mass.:theBelknapPressofHarvardUniversityPress. Peirce,C.S.(1958).Co//ec/ecIP"e'FQfαα"esStJ"火パPe"℃e,voIs.7-8,ed.byArthurW.Burks,Cambridge,Mass.:Harvard UniversityPress,VOl8. Pisters,R(2003).777e版α"なQ/vな"α/c"/""巴･恥r""9W"ﾉ7De/e"zej"〃mr〃eo〃.Stanfbrd,CalifStanfbrdUniversityPress Pisters,P(2012).777e"ez"℃-i"7qge.･4De/e"ziα"〃"1号p〃/osOpﾉりﾉQ/dig"α/“だe"c"""だ． Ranciere,J.(2006).F""/ZJ6/es.NewYOrk:Berg. Rio,E(2008).De/e"zea""rﾉ?eci"emasQ/pe枕ﾉ電加α"ce.･PoweKsQ/q"bc"o".Edinburgh:EdinburghUniverSityPress. Rodowick,D.N.(1997).G"/esDe/e"ze's〃"7e胴αc〃"e.Durham,NC:DukeUniversityPress. Spoto,D.(2009)."e"加""dh)'6""".･4伽〃〃"clicocえα"dﾙな/eq成"g/qdies.NewYork:HarmonyBooks.Cﾙi碗eres57(Fall 2005):76−77． Stevens,G.,&AmericanFilmInstitute.(2006).Co"ve応α"o"sw"ル//Iegノセα/碗owe〃αke"Q/〃ひ"ywood'sgo/咋刀ageα〃〃e 4〃e”cα〃F"加力7s"""e.NewYOrk:A.A.Knopf Truffaut,F.,&Hitchcock,A.(1967).Hi/c/icoch.NewYork:SimonandSchuster. Filmography Devonshire,A.(April2013).AlfiedHitchcock-MadeinBritain,Perspectives(TVSeries),Season3,Episode6. Fiennes,S.,ZiZek,S.,Eno,B.,Myers,T.,AmoebaFilm.,LoneStarProductions.,&MischiefFilms.(2006).乃epeﾊﾉe"'sg"i" roc加e"7α､London:PGuide・ Gervasi,S､,McLaughlin,J.J.,Reitman,I.,Pollock,T.,Mequck,J.,Thayer,T.,Bamette,A.,…TwentiethCenturyFoxHome Entertainment,Inc.(2012).厳/c〃cock・ Hitchcock,A.(1929).B/qck〃α".BritishlnternationalPictures. Hitchcock,A.(1936).釦加/qge.GaumontBritishPictureCorporation. Hitchcock,A.(1941).S""cio".RKORadioPicmres. Hitchcock,A.(1960).Hycho.ShamleyProductionS. Hitchcock,A.(1963).777eβ"てﾒs.UniversalPicmres/Al廿edJ,HitchcockProductions・ Jarrold,J.,Hughes,G.,Jenks,A.,Miller,S.,Jones,T.,Staunton,I.,Spoto,D.,…MoonlightingFilms(Firm).(2013).T7Ieg"/、 UnitedStates:HBOHomeEntertainment. Merton,R(2009).Pα"/Mｾ"o"/oo肋ar,4I/ircﾉ〃"c〃cock､London:BBC4． Ozu,Y(1949).Lq/e"""g. Wenders,W.(11985).乃幻o-Ga．
BRADLEYJoff･PeterNonnan:HfbrHitchcock:purecinemaandmentalrelations 127 Endnotes lHitchcockiSbetterinterpretedwithoutasolefbcusonCatholicism,originalsin,aguiltysuljectoraGoddemanding retribution(Deleuze,1986,p.202). 2Spoto,D.(2009)."e"加""d6vbeq"fv.･"航でd〃"c/7cockq"d/7is/eqd"7g/qdies.NewYork:HannonyBooks. 3ThisiscapmredbestinRichardLindner'spaintingBqyw"〃"αcﾙ加e(1954)whichDeleuzeandGuattariintroducein4""‐ Oe(加"s’ 4AlthoughitiswidelyknownthatHitchcockreferredtohisactorsandactressesas.cattle'inthel930s,therenderingof themas@automatons'isnotlimitedtotheEnglishman.FrenchnlmdirectorRobertBresson(1901-1999)employednon -actorsor･models'ashewantedthemtobeautomatons.Heaimedtodirectthespectatorwith.relationsofimages',notwith conversationorfacialreactions.Deleuze(C加e〃α〃,1989,p.172)describesBresson'sautomaticcharactersaspure,@bereft ofideasasoffbelings,reducedtotheautomatismofsegmenteddailygestures,butendowedwithautonomy'.Moreover, therelationbetweenthinkingandthecinematicimageistransfbnned廿omthemovement-imagetothetime-image.Both producedifferentaffectsinthespectatorthroughanexperienceofshock.The@nooshock'isconsequentlydifferentinthetwo image-regimes.Throughmontage,SergeiEisenstein'sshockisintellectualandconsistentwiththepowersofrationaland logicalthought. 5Thetime-imageisacinemaofspectatorship,〃〃α"e"7α火I'Ql'q"/.Thisisnotmuchthatthespectatorseeswhatthedirector covets,butmoreaquestionofcinemaofspectatorship・Thecharacterisreducedtoagaze-notintennsinwhathecovets-butintennsofimpotence-againnotintennsofsexuality-butintennsofmovement.ItisamisreadingtoseeDeleuzeas thinkingHitchcockintennsofadirtylittlesecret,apervertedscopophilia.Thetreatiseonthetime-imageshowsprecisely thatthecharacterissomehowtomoutofcontextandplace.Thisisthecinemaofthenon-place.Thecharacterwatchesas anon-participantintime.Hisgazeinsomewayisblind:hehashiseyestomout.Tbunderstandrelationscorrectly,itis throughanovelreadingofthirdnessunderstoodintheDeleuziansense.Mypointisthatthecinemaofrelationsoccursin Hitchcock'srightatthebeginningofhiscareer.OnthispointDeleuze,inCinemall:777e刀加e-jmage,(1989,p.205),says: @IfoneofHitchcock'sinnovationswastoimplicatethespectatorinthecinema,didnotthecharactersthemselveshavetobe capable-inamoreorlessobviousmanner-ofbeingassimilatedtospectators?' 6SeePisters,P.(2003).777e耐α"なQfv加'α/c"/""で.．〃bﾉ""gw"ﾙDe/e"ze加βﾉ"'/ﾉ7eoryLStanfbrd,CalifStanfbrdUniversity Press,p.17.Shewrites:"Thespectatorisnotlookingfbrrepresentationsofhisownlife,butisparticipatinginthegameof relationsthataresetupbyHitchcock.” 71f.AproducesaneventBasameanstotheproductionofaneventC'(Misak,2004,p.21),theknifbproducestheevent ofthememoryofmurder,promptingAlicetothrowtheknife・Thesonicmatterofthewordknifeproducestheunbearable, promptingAlicetolosecontrol. 8Hitchcockdescribeshisfilmsintennsofposmlates,orsetofrelations,whichundergologicaldevelopment. 9JosephConrad'snovel777eSecrer"ge"/.･4Sﾉﾉ"p/e乃/e(1907)fbmedthebasisfbrthel936film.Thisshouldnotbe confilsedwithHitchcock'sfilm,Secrer"ge"/,alsomadeinl936,whichwasbasedonshortstoriesbyW.Somerset Maugham. IODouchet'sessay･HitchandHisAudience'inKolker,R.P.(2004).,4"d〃"cﾙcock'sp"c/70:4cqsebook.NewYork: OxfbrdUniversityPress. llTheinterpretantinPeircediffers廿omSaussure'sdyadicconceptionofasign,whichconsistsofasignifierandsignified.
