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The Philosophical Hitchcock

“Vertigo” and the Anxieties of Unknowingness

Robert B. Pippin

The Philosophical Hitchcock

Robert B. Pippin

176 pages | 24 color plates, 36 halftones | 6 x 9 | © 2017
Cloth $29.00 ISBN: 9780226503646 Published December 2017
E-book $10.00 to $29.00 About E-books ISBN: 9780226503783 Published December 2017
On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. Hitchcock’s characters, Pippin shows us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness.
A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings.
Prologue: Film and Philosophy
Introduction: The Issue
1. The Opening Credits
2. The Opening Chase
3. Introducing Midge
4. Gavin Elster and the Scheme
5. Ernie’s
6. Pop Leibel
7. In the Bay and in Scottie’s Apartment
8. Two Are Going Somewhere
9. Semper virens
10. Midge and Carlotta
11. The “Suicide”
12. The Coroner’s Inquest
13. Scottie’s Dream
14. Music Therapy
15. Finding Judy
16. The Transformation
17. The Revelation
28. “I Loved You So, Madeleine”
Concluding Remarks: Moral Suspension
Review Quotes
Times Higher Education

"[Pippin] proposes an interpretation that shows how the film can be said to bear on a philosophical problem. That problem, in Pippin’s words, is concerned with 'commonsense views about what it is to understand another person or be understood by him or her, and about how we present ourselves to others in our public personae'. In service of this aim, he offers an impressively close scrutiny of the film, which also considers its formal and technical properties (a continuing weakness of some film scholarship is its refusal to see films as anything more than text), and demonstrates just how far he has engaged in the voluminous secondary literature surrounding both Hitchcock and Vertigo.... for those who are interested in the film it will offer much insight."

Nick James | Sight & Sound
"Pippin's reading of considerable finesse is in the tradition of moral philosophic writing... Pippin uses Vertigo particularly to explore the state of 'unknowingness' in romantic relationships One of the many compelling ideas he explores is that any romantic relationship between two people actually involves at least six 'people' in terms of how the two are perceived by themselves and their others--as they are, as they see themselves, as they see each other... Pippin's reading makes nearly every nuance of Hitchcock's richest work clear, thought-provoking and rewarding."
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