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Everybody's Got a Hungry Heart: Kierkegaard and Hitchcock

Everybody's Got a Hungry Heart: Kierkegaard and Hitchcock

Constantino Pereira Martins
Copyright: © 2017 |Pages: 13
ISBN13: 9781522505259|ISBN10: 1522505253|EISBN13: 9781522505266
DOI: 10.4018/978-1-5225-0525-9.ch004
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MLA

Martins, Constantino Pereira. "Everybody's Got a Hungry Heart: Kierkegaard and Hitchcock." Seduction in Popular Culture, Psychology, and Philosophy, edited by Constantino Martins and Manuel Damásio, IGI Global, 2017, pp. 77-89. https://doi.org/10.4018/978-1-5225-0525-9.ch004

APA

Martins, C. P. (2017). Everybody's Got a Hungry Heart: Kierkegaard and Hitchcock. In C. Martins & M. Damásio (Eds.), Seduction in Popular Culture, Psychology, and Philosophy (pp. 77-89). IGI Global. https://doi.org/10.4018/978-1-5225-0525-9.ch004

Chicago

Martins, Constantino Pereira. "Everybody's Got a Hungry Heart: Kierkegaard and Hitchcock." In Seduction in Popular Culture, Psychology, and Philosophy, edited by Constantino Martins and Manuel Damásio, 77-89. Hershey, PA: IGI Global, 2017. https://doi.org/10.4018/978-1-5225-0525-9.ch004

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Abstract

The text is a reflection on seduction in its primordial meaning: men and women. We support our analysis in the confrontation of Kierkegaard concepts and the film Vertigo. In this sense, more than seduction itself, it's the notion of figure or conceptual character that is focused. The figural assumes here a mode and a process of reading a particular way of the aesthetic, i.e., a form of life that corresponds to the seducer. What is a seducer? Are there different types of seducers? We will present the formal basic premises of Kierkegaard and try to show how Hitchcock's movie mirrors it, amplifying the categories in use to the unveil a new sort of seducer.

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