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Rear Window (1954), one of Alfred Hicthcock’s most successful films, is a constant object not only of critical reflection but also of creative manipulations and proliferations that go beyond the original medium. The film forms the backbone to Sebastien Ortiz’s novel Mademoiselle Coeur Solitaire (2005), which takes up and re-elaborates one of the secondary characters living in the internal courtyard onto which the apartment of the film’s protagonist faces. The article shows how, through a clever and amusing change of perspective, the novel tries to sabotage the Hitchcockian hypotext – and more generally the role of cinema –highlighting at the same time the themes and motives represented, thus reactivating the vision and confirming the fame of the master of suspense.

Rear Window di Alfred Hitchcock e Mademoiselle Cœur Solitaire di Sébastien Ortiz. Dallo schermo alla pagina: un regolamento di sguardi