ABSTRACT

In Alfred Hitchcock’s Dial M for Murder (1954), 3D facilitates the film’s organization of the scopic and epistemological pleasures of the detective thriller around the perceptual experience of the uncanny. By filtering its décor through stereo-aesthetics, Dial M articulates a postwar dread of dispossession, challenges the spectator’s efforts to feel ‘at home’ in the depicted space and in the space of reception, and dramatizes how the (violent) violation of boundaries and the anticipation of homelessness shaped the experience of postwar modernity.

中文翻译：

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Dial M for Murder：侦探惊悚片、战后惊悚片和 3D 电影

摘要

在 Alfred Hitchcock 的Dial M for Murder (1954) 中，3D 促进了电影围绕着对离奇事物的感知体验来组织侦探惊悚片的视觉和认识论乐趣。通过立体美学过滤其装饰， Dial M表达了战后对剥夺的恐惧，挑战了观众在所描绘的空间和接待空间中感受“家”的努力，并戏剧化了（暴力）违反边界和对无家可归的预期塑造了战后现代性的体验。