Humanities

18/10/2018

This week's Shadow of a Doubt forum is optional, but you will be expected to have responses to the following questions for an academic skills assignment in class. Consider responding to one of the following questions in the forum to help prepare. As you brainstorm your answers, consider using formal qualities of the film (performance style, dialogue, mise-en-scence, objects, locations) to include as part of your evidence. Please feel free to push your analyses as far as you can take them. Good luck!

1) From its inception, psychoanalysis has been interested in the dynamics of infantile sexuality within the nuclear family. Arguably, Shadow of a Doubt is a film about a "perverse" sexuality at the heart of the "average" American family. Analyze the role of sexuality, identification, and family complexes in the film. How is (sublimated) sexuality staged in the Shadow of a Doubt? How does it manifest itself between characters including: Uncle Charlie, Young Charlie, Emma (mother), Jack (father), Herb (father's "friend"), and Joseph (FBI agent). What role might the "weak" father play in shaping alternative circuits of desire in the film? You may consider Oedipal dynamics, castration anxiety, and contests over "being and having the phallus" in your response.

2) Psychoanalysis has long been interested in the concept of the "double." The double is the "other" that seems to be an uncanny reflection of my self; the one who reveals facets of my character that are typically repressed. Doubles may be attractive for the hidden possibilities they reveal, but also profoundly destabilizing of my "imagined" sense of self. In Shadow of a Doubt, how do pairs of characters, but also physical locations, and even conceptions of the "law" reveal repressed and potentially disturbing elements? How might the double reveal an "other side" to characters, relationships, and even the symbolic order itself (in this film, normative America)? How might doubling provide glimpses into the order of the real?

3) Lacan believed that subjects, in response to their own inevitable sense of lack, sustain themselves with fantasies about the unlimited enjoyment of the other. I may be lacking, we say to ourselves, but somewhere out there "fullness" is possible. These fantasies of the other's enjoyment can take on both "positive" and "negative" connotations (from loving idealization to raging paranoia). How do the characters in Shadow of a Doubt, including young Charlie, uncle Charlie, Emma, Jack, and Herb, imagine the enjoyment of the other? What do their fantasies reveal about their subjectivity? How do they change (or not change) over time?

Looking forward to hearing your answers!

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Chris Morgan Arseneau

20/10/2018 06:30:24 pm

(Topic #2)

Hitchcock’s SHADOW OF A DOUBT is filled with “doubles.” The concept of the “double” implies different ideas throughout the film and can be observed through characters such as young Charlie and Uncle Charlie or scene locations such as the train station.

In the film, Uncle Charlie acts as a double for young Charlie, revealing facets of her character that are typically repressed. Young Charlie embodies benevolence while Uncle Charlie embodies malevolence. Though Uncle Charlie is murderous and decadent, he can also be charming and generous with his family. Similarly, young Charlie may be optimistic, generous and good, but she is also capable of issuing threats against her uncle and fighting back when he poses too much of a threat to her family or herself. Hitchcock uses the concept of the “double” to contrast the evil in Uncle Charlie with the good in young Charlie. This use of the concept of the “double” reveals an “other side” to young Charlie. Near the end of the film, she reaches into a malevolent or dark and repressed part of herself when she threatens to kill her uncle if he doesn’t leave and when she fights for her life on the train, ultimately pushing her uncle to his death.

An example of the “double” can be observed in the scenes when Uncle Charlie and young Charlie are introduced. Alfred Hitchcock parallels the scene of Uncle Charlie waking up to the scene of young Charlie waking up. Both characters can be perceived lying on their bed with their arms behind their head and feet crossed. This use of the “double” suggests that there is or will be a connection between these two characters. Sure enough, we discover that the two characters share a close connection, but have a contrasting relationship. At first, their relationship is loving and happy, but as the film progresses, their relationship quickly changes for the worse as young Charlie realizes that her uncle isn’t the man she believes him to be (or fooled herself into thinking he is).

When young Charlie is bored, she decides to send a telegram to her uncle, inviting him to visit them in Santa Rosa. As she writes the telegram at the telegram office, she is informed that her family has received a telegram from her uncle saying that he’s on his way. Young Charlie and Uncle Charlie share the same thought at the same time, which connects them mentally, strengthening their link as “doubles.” Young Charlie even states that they’re “sort of like twins.”

Another example is when Uncle Charlie and young Charlie mention that telling Emma about the evil deeds of Uncle Charlie will do her more harm then good. These two scenes divulge that Uncle Charlie and young Charlie share similar thoughts. Even though they both have different perceptions of what is good and what is bad or evil, they both agree that telling Emma about what Uncle Charlie has done and continues to do, will hurt her. They both care deeply about Emma and her feelings. As a result, both start to share the common objective of preventing anyone else from getting hurt by Uncle Charlie’s evil deeds. Young Charlie considers turning him in after he flees Santa Rosa in order to prevent Emma from getting emotionally hurt as well as preventing her uncle from physically hurting anyone else. Their common objective is fulfilled when Uncle Charlie is killed. His death prevents Emma from getting hurt by knowing her brother’s evil deeds and he can no longer kill or harm anyone.

Furthermore, the train station scenes are also an example of the film’s use of the “double.” The first train station scene shows Uncle Charlie arriving in Santa Rosa and the second, near the end of the film, shows him leaving. When he first arrives, he is welcomed and lovingly embraced by young Charlie. The dynamics between the two characters aren’t the same as they were when Uncle Charlie first arrived. Uncle Charlie leaves because his niece finds the ring that can be used as evidence to turn him in. On the train, he tries, yet again, to kill young Charlie. She defends herself and fights back. In this scene, two trains are going in opposite directions of one another, and Uncle Charlie is killed upon impact with the train going in the opposite direction.

Kelly Rosialda

21/10/2018 03:33:33 pm

Topic 2
I do agree, like Chris pointed out that Charlie does act as a double to young Charlie as their personalities complement each other. Towards the film they both unconsciously adopt certain personality traits of their “other self”. For instance, when Charlie “saved” young Charlie from suffocating in the garage they switched roles for the slightest instant. Charlie expresses his own innocence, although originally wanting to cause harm whereas young Charlie becomes imposing and has a malicious look to her face while telling her uncle to leave. But I’d like to point out how young Charlie’s narrative complements the main intrigue of Shadow of the doubt, the chase of Charlie and how these aspects reveal contrasting ideas.
Charlie tries to repress and erase the murders he has committed by leaving his town and spending time with the Newton’s. We, the audience, are influenced by young Charlie’s and Emma’s perception of Charlie as they place him on a pedestal idealizing his character however aspects of his murder aren’t unnoticed, expressing themselves subtlety throughout the entire film and finally resurfacing at the end. The two detectives acting as journalist is the first apparent symbol that connects us to the opening scene of the film as they chase Charlie down the street. With their appearance, we are directly reminded of the scene of the film that was unexplained. Their mysterious and gloomy presence clashes with the innocent image of the Newton family just as they clash with the plot of the story. The ring although seeming beautiful and innocent expresses a malicious history connected to the murder. As it is revealed at the end by the article found in the journal, it belonged to one of the murdered windowed woman. The piece of jewelry worn by young Charlie the entire time kept us connected and aware of the murder without consciously knowing about it. The engraved initials were questioned but didn’t seem suspicious to anyone once Charlie explained, actually created an explanation to it. The ring itself was doubled in the sense that it possessed two different perceptions. It was Beautiful and sinister at the same time complementing both characters. Finally, the scene in which Charlie sees his reflection in young Charlie’s graduation picture is a literal summary of the committed murder. The picture, once analyzed is composed of three woman, and two men. It is representative of the three murdered widows and the two detectives. It is representative of the two different plots and stories in the film. This scene being one of the first scenes as Charlie arrives at the Newton’s indirectly spoiled the plot itself but didn’t as we didn’t really understand what we were supposed to be looking at or for. It strips out the innocence of the picture to impose on it with Uncle Charlie’s reflection a disturbing portrait of the murders and the ongoing chase.
All in all, the Newton’s house was a double for the main intrigue, for Uncle Charlie’s murders. The detectives, the ring and young Charlie’s picture were symbols of what Charlie himself wanted to run away from but couldn’t as when everything was added up the murder was revealed creating an unsettling environment as all the symbols become apparent to our eyes.

Meghan Rulli

21/10/2018 08:34:44 pm

Topic #3:
In Shadow of a Doubt, there are many examples of the characters having specific fantasies of the other, but the relationships I’d like to focus in on are the ones of Young Charlie, Emma and Uncle Charlie. At the beginning of the movie, both Emma and Young Charlie are almost in awe of their brother/uncle Charlie. Young Charlie even states at the beginning that all she is waiting for is a miracle, showing that something is missing in her life, as she vents to her father about how she concerned of the family’s future, and everything is always the same. The fullness, the object missing in her life, as well as her mothers, is Uncle Charlie.

When Uncle Charlie comes to visit, Young Charlie tells him “Before you came, I didn’t think I had anything.” Proving that he was the object of fulfillment in her life. This fantasy of Uncle Charlie being the fulfilling object to Young Charlie eventually takes on a negative connotations, as she discovers whatever he was hiding; what she believed was ‘something secret, and wonderful’, was actually extremely disturbing, and she begins to fear him, and also possibly fear herself for fantasying him as an object of fulfilment. While this negative connotation overcomes for Young Charlie, Emma continues to see her brother as the ‘wonderful man’ he is, and this makes it even more troubling for Young Charlie.

This example of the relationship between Uncle Charlie, Young Charlie and Emma proves to us exactly how we are deceived by our desires, as we approach the end of the movie, Young Charlie has a completely different outlook on her own uncle; the person who she was named after. Perhaps, the additional fact that she’s named after him produces even more self loathing, since she is carrying a part of ‘him’ everywhere. Whenever we believe we have obtained this longing, we still remain unfulfilled, leading to the conclusion that the ultimate desire is death, which is how the movie ends; Uncle Charlie’s death. The death of Uncle Charlie is then, the ultimate desire for Young Charlie and Emma.

Hannah Di Francesco

21/10/2018 09:11:25 pm

Topic 1

In SHADOW OF A DOUBT, the father plays a pretty weak figure. As young Charlie notes right at the beginning of the movie, the family is not happy, they just keep living without any joy. When her father tries to make her see things differently she shuts him down right away without even giving him the chance to explain what he would do to help the family. She knows that it will not change anything and that they will stay unhappy anyways if nothing major changes. In her mind she is comparing her uncle to her dad, she has already noticed how much more joy he brings to the family, and especially to her mom. Her mom is really truly happy when her little brother is around. Young Charlie has noticed this and idolizes her uncle because of this. He is the one who brings the family together and makes them happy, he takes on the role of the father in her eyes and this is why the oedipal attraction is shifted to him. This is why young Charlie is so attracted to her uncle she sees him as the leader of her family since he is the one who brings them the most happiness.

There is also a battle for the phallus between the young and old Charlies. Since they both know the information about the murders they both want to do what they believe is right. Old Charlie wants his freedom, he wants to just live out his life in peace and while being pampered by his sister. It is the perfect escape because everyone loves him there and nobody suspects him of doing anything bad. Young Charlie wants justice, she is the only one who knows about the crimes and does not share the amazing view of her uncle anymore. She knows how dangerous he can be and wants him to get away from her family. In the end of the movie she is fighting for her life since she is the only one left who knows the truth and old Charlie cannot take that chance. He wants to be the only one who knows his true identity so he can be protected. The fight is for the information that they know, because if young Charlie knows it she has the phallus. She has power over her uncle with the incriminating evidence (the ring) that she possesses. Old Charlie wants to eliminate the threat and be the only one to possess the phallus.

Patricia Brassard

21/10/2018 10:34:35 pm

1)
In Hitchcock’s SHADOW OF A DOUBT Jack, the father, is repeatedly disregarded. Usually symbol of authority and power, the father is constantly challenged in SHADOW OF A DOUBT by his wife or his brother-in-law. When ‘Big Charlie’ first arrives in the house; the father welcomes him to his new room, and as he goes to set his hat down on the bed, the father stops him because he doesn’t want to ‘invite trouble’. As soon as he leaves however, Uncle Charlie THROWS (!) the hat onto the bed. Furthermore, as the uncle sees an article in the paper about himself, he cuts it out; Ann and Charlie both reprimand him because its their father’s paper. Though the harm has already been done; their father’s paper should be preserved because it is an extension of the house’s ‘authority figure’. Charles defies this by ripping the paper in the first place.

The wife/mother too, disregards her husband’s authority as she cares very lovingly for her brother, to the extent that her husband seems like some sort of an inconvenience to her and her brother. Charlie seemingly ’outdoes’ the father in every stereotypical role the man must fulfill; having money, spoiling his loved ones, having authority, having women’s attention. Charles maintains this but mostly the father doesn’t. Uncle Charlie even carries around a cane; the physical embodiment of the phallus. Even for murders; Jack and Herbert discuss homicides at length, without ever executing them; Uncle Charlie does, multiple times.

One could think this is cause for castration anxiety; however, I think Jack enjoys this sort of dynamic. He is delighted when Charles offers him the watch, seems very happy Charles speaks to his boss about depositing the money, and even when people ask about the Uncle he says Charlie is ‘good for the children’. When Emma ushers him out of the house, taking his newspaper from his hand (powerful visual) to give it to Charlie at his convenience, he leaves without discontent. This can suggest that the father identifies with Charlie in the possession of authority, of Emma, and of.. young Charlie. As the patient of Joan Riviere identified with the husband when she learned he was cheating on her.

Inevitably, as Jack ‘erases’ himself as the figure of Authority, all rules can seem to also fade away, even the ‘rules’ of marriage. As Emma’s brother says he will be departing the next day, she starts crying and says she will miss him because ‘they were so close growing up’. The statement is very similar to an old lover reminiscing about the past times and great memories. Something quite amazing and exciting must of happened when they were kids for her to remember, and want, yearn, to recreate years later. When she openly states this, and the camera goes over her head and she cries, she doesn’t look like a wife; but like a widow, as if he *real* lover was leaving her. In that moment, the institution of marriage, and all it entails, seems to have faded away and in that scene, we don’t see the father.

In that instant, we see how sad she is, because her fantasy is falling a part; throughout the entire movie she was pampering Charlie, acting as his (stereotypical) wife. She acts as if the more she spoils him with love and care, the longer he’ll stay around. When he’s around she can imagine all sorts of fantasies that fulfill the needs she can’t or shouldn’t. When we see the picture of the grandparents, the father looks a lot like Charlie, so perhaps there are some unresolved oedipal conflicts between Emma’s father and her that would explain her drive to please Uncle Charlie and obtain some sort of validation.

Humanities

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