Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Can, a mysterious man, has a traumatic past. In order to escape the events he experienced as a child, Can chooses to leave his village and start a new life for himself. Can, who spent his life studying in a boarding school far from his hometown, has only his grandmother as his surviving relative. His past haunting him causes his life and marriage to turn into a nightmare. Deciding to confront his past, Can sets off for his village with his wife Ezgi.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.
Seeing that the film was essentially his first big, mainstream feature, and with garnering a leading role — portraying the revolutionary ball-player Jackie Robinson — Boseman, without question, delivered a performance that is still so incredibly moving, respectful, genuine, and true to the core of his obviously sincere, artistic heart; and with that, it is indeed so saddening to see him pass.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
Chickenhare and the Hamster of Darkness explores true identity through exploration.
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