We are un-plugging the Hitchcockian apparatus." This is a map of the flows of desire moving through the Vermont soil. Harry is not a character; Harry is a Body without Organs—a smooth surface upon which the villagers project their molar anxieties and territorial impulses.

In this session, we track:

The Desiring-Machine of the Shovel: How the repetitive burial/exhumation cycle creates a rhythmic production of guilt and joy that bypasses the State-form (The Law).

Territorialization of the Corpse: The struggle to claim Harry's space vs. the nomadic flight of Jennifer and the Captain.

The Aesthetic Glitch: Why the Technicolor saturation acts as a "line of flight" from the grey reality of 1950s domesticity.

Break the frame. Stop interpreting. Start plumbing the connections. The corpse is a catalyst for the deterritorialization of the nuclear family.

References:

Copjec, J. (1994). Read my desire: Lacan against the historicists. MIT Press.

Deleuze, G. (1985). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). University of Minnesota Press.

Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia (R. Hurley, M. Seem, & H. R. Lane, Trans.). University of Minnesota Press.

Deleuze, G., & Guattari, F. (1987). A thousand plateaus: Capitalism and schizophrenia (B. Massumi, Trans.). University of Minnesota Press.

Modleski, T. (1988). The women who knew too much: Hitchcock and feminist theory. Routledge.

Wood, R. (2002). Hitchcock’s films revisited. Columbia University Press.

Žižek, S. (1992). Everything you always wanted to know about Lacan (but were afraid to ask Hitchcock). Verso.

Keywords: Desiring-production, Hitchcock-machine, Lines of Flight, Nomad-Thought.

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