In the first The Man Who Knew Too Much, Alfred Hitchcock films a clay pigeon crossing the sky, a dark disc resembling a black sun. When the same work takes viewers into a temple for sun worshippers (it turns out to be a front for spies), another black orb is introduced: a black marble used to hypnotize initiates. Tom Cohen traces this motif--and many others--seeing it as an explicit challenge both to Enlightenment-era protocols of representation and...