ABSTRACT
As author of The Women Who Knew Too Much, she wanted to throw in her lot with the likes of Rebecca and her creator and to undermine the claim to absolute mastery on the part of the ultimate patriarch of film, Alfred Hitchcock. When the author first read her essay, 'Mark's Marnie', she was bowled over by its rich analysis and its compassionate tone - compassionate toward Marnie and her mother, first and foremost, but, to an extent, toward Mark Rutland too. The author like focusing on another work by a woman who claims to write as a feminist and to make gender a central concern of her study: Susan Smith's Hitchcock: Suspense, Humour, and Tone. Turning briefly to another essay by Edelman, an extraordinarily complicated and in many ways impressive analysis of The Birds, 'Hitchcocks Future', Edelman is intent on diminishing, and finally eradicating entirely, the role of the woman.
