Symbolic role in this dynamic, and how they differ from trailers that precede and follow Unrestrained auteur – and here I focus on the trailer of thatįilm and others produced during Hitchcock’s ascendant position given their 2 Thus,įor the studio, its release marked the perfect storm of necessary banker and dangerously That had begun with his move to Paramount. His powers: he was already enjoying unfettered artistic freedom and personal expression Marnie and its attendant publicity comes with Hitchcock at the peak of Tranche of critical or commercial successes (and frequently both) it had also toĬontend with a marquee director who was, as Keith Johnston suggests, ‘big enough
The back of a decade-long run that had taken in Rear Window ( 1954), To Catch a Thief ( 1955), The Trouble with Harry It did not seem to help that Marnie came on Kleptomania, prostitution and several indulgent subplots, their twitchiness in 1 Given that the film features marital rape, cod-Freudian melodrama, Nervous about how local audiences might receive their product. Paper, promised success given its star performers and director.
In early 1964, anticipating the US release ofĪlfred Hitchcock’s Marnie, Universal Pictures had a film that, on
In this way, the trailer serves as both promotional product and critical (self-)appraisal, suggesting in the textual and paratextual construction of the Hitchcock trailer an intersection of the materialism of the commercial package and the abstraction of artistic ambition. In so doing, Hitchcock promotes ostensibly ‘closed texts’ not open to interpretation while offering the potential for polysemantic renderings of such texts – opening the paratext. As the director’s influence began to grow and his own sense of authorship began concomitantly to develop, in these trailers (filmic paratexts), Hitchcock, as the author argues, increasingly makes the case for his artistic intentions, mirroring the ambiguous and excessive style of his contemporaneous filmmaking in such promotional material. But while the studios understood that Hitchcock’s appeal was a key part of his films’ selling points, his role in such content was, for the most part, a corollary to the task of having to sell a motion picture. As a filmmaker who frequently enjoyed unusual artistic control over his output, Alfred Hitchcock was known for appearing not only in his films but also in their trailers.
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