1. Career overview: “master of suspense” in England (1922-1940) then the US (1940-mid 70s)
2. Types of films
a. Suspense: uncertainty of outcome between equally likely possibilities
b. Hitchcockian suspense: evil lurks just below the visible surface of everyday reality:
--“Keys” (key objects)
c. Sympathetic villains
e. Transference of guilt
1. When and how?
2. Character vs. audience knowledge
3. Suspense and melodrama
--Roaring Twenties : gangster film conventions through the mode of melodrama
--here (Notorious 1946): suspense film conventions work through strategies of melodrama: note the moral functions of suspense in Hitchcock’s films in general, and in its view of victimization here
--suspense “keys” in Notorious?
--family; social pressure; entrapment and victimization?
--compare to similar strategies in Best Years