Abstract
In The Man Who Knew Too Much (1956), the ambassador, while plotting to kill the prime minister, orders the kidnapped American child Hank McKenna killed, telling his would-be gunman, Edward Drayton: “Don’t you realize that Americans dislike having their children stolen?” Earlier in the movie, Jo McKenna entertains her son and husband by singing “Que Sera Sera,” and its playfulness becomes darkly ironic when she sings “the future’s not ours to see” on the eve of her son’s kidnapping.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Bibliography
Abramsom, Leslie. “The Savage Audience: Looking at Hitchcock’s The Birds.” Film & History, vol. 41, no. 2 (Fall 2011): 19–28.
Adair, Gene. Alfred Hitchcock: Filming Our Fears. New York: Oxford University Press, 2002.
Brill, Lesley. “‘Love’s Not Time’s Fool’: The Trouble with Harry (1955).” In Hitchcock’s Rereleased Films: From Rope to Vertigo, ed. Walter Raubicheck and Walter Srebnick. Detroit: Wayne State University Press, 1991. 270–281.
Cohen, Paula Marantz. Alfred Hitchcock: The Legacy of Victorianism. Lexington, KY: The University Press of Kentucky, 1995.
Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton University Press, 1992.
Engelhardt, Tom. The End of Victory Culture: Cold War American and the Disillusioning of a Generation. Rev. ed. Amherst, MA: University of Massachusetts Press, 2007 (1995).
Girard, René. Violence and the Sacred. Baltimore, MD: Johns Hopkins University Press, 1979.
Greven, David. “Cruising, Hysteria, Knowledge: The Man Who Knew Too Much (1956).” European Journal of American Culture, vol. 28, no. 3 (2009): 225–244.
Hark, Ina Rae. “Revalidating Patriarchy: Why Hitchcock Remade The Man Who Knew Too Much.” In Hitchcock’s Rereleased Films: From Rope to Vertigo, ed. Walter Raubicheck and Walter Srebnick. Detroit: Wayne State University Press, 1991. 209–220.
Hellmann, John. “The Birds and the Kennedy Era.” In The Hitchcock Annual: Volume 17, ed. Sidney Gottlieb and Richard Allen. New York: Columbia University Press, 2012. 95–127.
Jancovich, Mark. “‘Two Ways of Looking’: The Critical Reception of 1940s Horror.” Cinema Journal, vol. 49 (Spring 2010): 45–66.
Martin, Pete. “I Call on Alfred Hitchcock.” The Saturday Evening Post. July 27, 1957.
McLaughlin, James. “All in the Family: Alfred Hitchcock’s Shadow of a Doubt.” In A Hitchcock Reader, ed. Marshall Deutelbaum and Leland Poague. Ames, IA: Iowa State University Press, 1986. 141–152.
Michie, Elsie B. “Hitchcock and American Domesticity.” In Hitchcock’s America, ed. Jonathan Freedman and Richard. Millington, New York: Oxford University Press, 1999. 29–53.
Ness, Richard R. “Family Plots: Hitchcock and Melodrama.” In A Companion to Alfred Hitchcock, ed. Thomas Leitch and Leland. Poague, Malden, MA: Wiley-Blackwell, 2011. 109–125.
Olson, Debbie. “The Hitchcock Imp: Children and the Hyperreal in Alfred Hitchcock’s The Birds.” In Lost and Othered Children in Contemporary Cinema, ed. Debbie Olson and Andrew Scahill. New York: Lexington Books, 2012. 287–305.
Phillips, Gene D. Alfred Hitchcock. Boston: Twayne Publishers, 1984.
Raubicheck, Walter, and Walter Srebnick, Scripting Hitchcock: Psycho, The Birds, and Marnie. Urbana: University of Illinois Press, 2011.
Simone, Sam P. Hitchcock as Activist: Politics and the War Films. Ann Arbor, MI: UMI Research Press, 1985 (1982).
Spoto, Donald. The Art of Alfred Hitchcock. New York: Hopkinson and Blake, 1976.
—. The Dark Side of Genius. Boston: Little, Brown and Company, 1983.
Trotter, David. “Hitchcock’s Modernism.” Critical Quarterly, vol. 52 (2010): 123–139.
Tudor, Anthony. Monsters and Mad Scientists: A Cultural History of the Horror Movie. Cambridge: Blackwell, 1989.
Wood, Robin. Hitchcock’s Films Revisited. New York: Columbia University Press, 1989.
—. “Plot Formations.” In Perspectives on Alfred Hitchcock, ed. David Boyd. New York: G. K. Hall, 1995. 42–50.
Editor information
Copyright information
© 2014 Debbie Olson
About this chapter
Cite this chapter
McEntee, J.T. (2014). “The Future’s Not Ours to See”: How Children and Young Adults Reflect the Anxiety of Lost Innocence in Alfred Hitchcock’s American Movies. In: Olson, D. (eds) Children in the Films of Alfred Hitchcock. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137472816_3
Download citation
DOI: https://doi.org/10.1057/9781137472816_3
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-50185-4
Online ISBN: 978-1-137-47281-6
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)