We read comparatively two acts of self-revision, James's transformation of his 1896 novel The Other House (based on an 1893 dramatic scenario) into a 1909 play and Hitchcock's two film versions of The Man Who Knew Too Much (1934, 1956). Based on Lacanian psychoanalysis, we argue that both artists seek in their different acts of critical reading the best ways to materialize the visionary operations of voice by giving it greater aesthetic and ethical effectiveness, in the hope of perfecting the fierce maternal form of the modern superego, and thereby exorcising it once and for all.

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