| This paper traces the ways in which Joseph Conrad's novel The Secret Agent and Alfred Hitchcock's 1936 film Sabotage each comment on their respective mediums. Taking the object which is left behind in the wake of Stevie's death as its starting point, the triangular piece of cloth, this thesis examines the ways in which the figure of the delta alerts the reader to a commentary on language and text that echoes throughout the novel. As that triangular piece of cloth becomes a film tin bearing the title "Bartholomew the Strangler," this paper then traces the resonances that film and the agencies behind the screen similarly figure cinema. |
