Voices Carry: Film and Telepathy
This chapter pursues the problem of coincidence on the telephone in its greatest cinematic example—Sorry, Wrong Number—all the way to the ambivalent dream of telepathy, a major fantasy of novelistic culture and troubling concern for film. Telepathy then structures a sustained comparison between film and the novel in terms of access to characters’ minds, a comparison developed in an extended reading of Shadow of a Doubt. Hitchcock’s film finally represents a turning away from telepathy and female knowledge—the double—edged legacy of the novel—toward a cinema of female mobility and speed.
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