Hitchcock’s benevolent-sadistic playing with the spectator…makes the spectator shrink back by confronting him with the full consequence of the realization of his desire (“you want this evil person killed? OK, you will have it-with all the nauseating details you wanted to pass over in silence..”). In short, Hitchcock’s “sadism” corresponds exactly to the superego’s “malevolent neutrality:” he is nothing but a neutral “purveyor of truth,” giving us only what we wanted, but including in the package the part of it that we prefer to ignore. This reverse of the subject’s message is its repressed; …Here, we cannot but repeat after Lacan: there is no repression previous to the return of the repressed; the repressed content does not precede its return in symptoms, there is no way to conceive it in its purity undistorted by “compromises” that characterize the formation of the symptoms.

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