I think that's plain silly. The whole of Hollywood history and the international mass audience's response to the great films show what nonsense such theories are. From the moment feminism began to solidify its ideology in the early '70s, Hitchcock became a whipping boy for feminist theory. It was formulated by people who knew nothing about the history of painting or sculpture, the history of the fine arts. Hitchcock obviously had a complex and ambivalent attitude toward women.
Any artist is driven by strange forces.
The whole impulse in art-making is to untangle your dark emotions. There's always some strange drive in the work of any major artist. No happy person has ever had a major career in the arts. The only example I can find is Raphael, who appeared to have a sunny temperament to most people. And it could be that he was deliberately defining himself in opposition to the big troublemakers, Michelangelo and Leonardo, who were pains in the ass to everybody.