알프레드 히치콕 <Frenzy>의 서스펜스 표현방식 연구

Abstract

In many suspense films such as <Rebecca> (1940), <Rear Window> (1954), <Vertigo> (1958), <North by Northwest> (1959), <Psycho> (1960), and <The Birds> (1963), Alfred Hitchcock masterfully created suspense based on human desires and voyeurism, expanding the cinematic expression of the thriller genre. François Truffaut, a major critic at Cahiers du Cinéma, played an important role in re-evaluating Hitchcock as an auteur director. Truffaut argued that Hitchcock's works were not merely commercial films but rather had high artistic value. His in-depth interview with Hitchcock in 1962 deeply explored Hitchcock's film philosophy, and this interview was later published as 『Hitchcock/Truffaut』 (1966), which helped reposition Hitchcock’s works as an important part of cinematic art. This paper analyzes Hitchcock's late work, <Frenzy> (1972), examining his unique techniques for creating suspense and the visual styles employed. Given the relative lack of research on Hitchcock’s later works, this study aims to shed light on how Hitchcock’s suspense techniques evolved through his later films. <Frenzy> uses the ‘Unchained Camera’ technique and the ‘Kuleshov Effect’ to depict the relationship between sex and violence, exploring themes such as sadism, fetishism, and eroticism. Through visual and narrative analysis, this study investigates how <Frenzy> intertwines eroticism and Thanatos, portraying the complex psyche of characters entangled in sexual impulses and death drives, and how these techniques heighten the audience's psychological tension. By conducting this analysis, the paper seeks to clarify how Hitchcock’s innovative suspense techniques and psychological manipulation deliver emotional impact to the audience.