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Hitchcock s New and Complete Analysis of the Holy Bible Or The Whole of the Old and New Testaments Arranged According to Subjects in Twenty seven Books
- Author : Roswell Dwight Hitchcock
- Publisher : Unknown
- Release Date : 1885
- Genre : Bible
- Pages : 1159
- ISBN : UVA:X002177823
Based on the famous series of dialogues between Francois Truffaut and Alfred Hitchcock from the 1960s, the book moves chronologically through Hitchcock's films to discuss his career, techniques, and effects he achieved. It changed the way Hitchcock was perceived, as a popular director of suspense films - such as Psycho and The Birds - and revealed to moviegoers and critics, the depth of Hitchcock's perception and his mastery of the art form. As a result of the changed perceptions about Hitchcock, his masterpiece, Vertigo, hit the No 1 slot in Sight & Sound's recent poll of film-makers and critics, displacing Citizen Kane as the Best Film of all time.
- Author : Anonim
- Publisher : Unknown
- Release Date : 1972
- Genre : Uncategorized
- Pages : 231
- ISBN : NWU:35556030786446
- Author : Edward HITCHCOCK (President of Amherst College.)
- Publisher : Unknown
- Release Date : 1836
- Genre : Uncategorized
- Pages : 231
- ISBN : BL:A0022691769
Explores Hitchcock’s repeated voyages into the dreamlike. A Dream of Hitchcock examines the recurring motif of the dream in Hitchcock’s work—dreamscapes, dream processes, the dream effect—by focusing on close readings of six celebrated but often misinterpreted films: Strangers on a Train, Rebecca, Saboteur, Rear Window, To Catch a Thief, and Family Plot. The Hitchcockian dream, as invoked here, is not so much a dream as it is a way of understanding, in its dramatic contexts, an “unearthly,” irrational quality in the filmmaker’s work. Rebecca revolves around problems of memory; To Catch a Thief around uncertainty; Saboteur around pungent aspiration; Family Plot around intuition; Rear Windowaround expansive imagination; and Strangers on a Train around delirious madness. All of these films enunciate the return of the past, the invocation of a boundary beyond which experience becomes unpredictable and uncertain, and the celebration of values that transcend narrative resolution. Murray Pomerance’s distinctive method for thinking through Hitchcock’s work allows these films to inform theorization, not the other way around. His original, provocative, and groundbreaking explorations point to the importance of fantasy, improbability, doubt disconcertion, hope, memory, intuition, and belief, through which the oneiric comes to the center of waking life. “This lively, informed, insightful book is a like a jazz riff on the six films under consideration, mixing cultural, historical, filmic, and literary allusions to interpret each film. I think it would be as interesting and helpful to a person just beginning to study Hitchcock’s films seriously as to an academic who has been studying and writing about Hitchcock for years.” — Richard A. Gilmore, author of Doing Philosophy at the Movies
From the beginning of his career, Alfred Hitchcock wanted to be considered an artist. Although his thrillers were immensely popular, and Hitchcock himself courted reviewers, he was, for many years, regarded as no more than a master craftsman. By the 1960s, though, critics began calling him an artist of unique vision and gifts. What happened to make Hitchcock's reputation as a true innovator and singular talent? Through a close examination of Hitchcock's personal papers, scripts, production notes, publicity files, correspondence, and hundreds of British and American reviews, Robert Kapsis here traces Hitchcock's changing critical fortunes. Vertigo, for instance, was considered a flawed film when first released; today it is viewed by many as the signal achievement of a great director. According to Kapsis, this dramatic change occurred because the making of the Hitchcock legend was not solely dependent on the quality of his films. Rather, his elevation to artist was caused by a successful blending of self-promotion, sponsorship by prominent members of the film community, and, most important, changes in critical theory which for the first time allowed for the idea of director as auteur. Kapsis also examines the careers of several other filmmakers who, like Hitchcock, have managed to cross the line that separates craftsman from artist, and shows how Hitchcock's legacy and reputation shed light on the way contemporary reputations are made. In a chapter about Brian De Palma, the most reknowned thriller director since Hitchcock, Kapsis explores how Hitchcock's legacy has affected contemporary work in—and criticism of—the thriller genre. Filled with fascinating anecdotes and intriguing excerpts, and augmented by interviews with Hitchcock's associates, this thoroughly documented and engagingly written book will appeal to scholars and film enthusiasts alike. "Required reading for Hitchcock scholars...scrupulously researched, invaluable material for those who continue to as
The most comprehensive volume ever published on Alfred Hitchcock, covering his career and legacy as well as the broader cultural and intellectual contexts of his work. Contains thirty chapters by the leading Hitchcock scholars Covers his long career, from his earliest contributions to other directors’ silent films to his last uncompleted last film Details the enduring legacy he left to filmmakers and audiences alike
Presents a collection of interviews with the British film director which span his five decade career.
Examines Hitchcock's career, shows how his films reflect his own anxieties and neuroses, and reveals a master storyteller and technical wizard
Master of the macabre Hitchcock is analyzed in this volume that cover his most famous films (""Frenzy, The Birds, Psycho"") and memorable cameos in all his movies.
Alfred Hitchcock's Psycho: A Casebook collects some of the finest essays on this groundbreaking film--a film that is ideal for teaching the language of cinema and the ways in which strong filmmakers can break Hollywood conventions. Psycho is a film that can be used to present the structures of composition and cutting, narrative and genre building, and point of view. The film is also a highpoint of the horror genre and an instigator of all the slasher films to come in its wake. The essays in the casebook cover all of these elements and more. They also serve another purpose: presented chronologically, they represent the changes in the methodologies of film criticism, from the first journalist reviews and early auteurist approaches, through current psychoanalytic and gender criticism. Other selections include an analysis of Bernard Hermann's score and its close relationship to Hitchcock's visual construction; the famous Hitchcock interview by François Truffaut; and an essay by Robert Kolker that, through the use of stills taken directly from the film, closely reads its extraordinary cinematic structure. Contributors include Robert Kolker, Stephen Rebello, Bosley Crowther, Jean Douchet, Robin Wood, Raymond Durgnat, Royal S. Brown, George Toles, Robert Samuels, and Linda Williams.
After a decade of successful films that included Rear Window, Vertigo, North by Northwest, and Psycho, Alfred Hitchcock produced Marnie, an apparent artistic failure and an unquestionable commercial disappointment. Over the decades, however, the film’s reputation has undergone a reevaluation, and both critics and fans alike have come to appreciate Marnie’s many qualities. In Hitchcock and the Making of Marnie, Tony Lee Moral investigates the cultural and political factors governing the 1964 film’s production, the causes of its critical and commercial failure, and Marnie’s relevance for today’s artists and filmmakers. Hitchcock’s style, motivation, and fears regarding the film are well-documented in this examination of one of his most undervalued efforts. Moral uses extensive research, including personal interviews with Tippi Hedren and Psycho screenwriter Joseph Stefano—as well as unpublished excerpts from interviews with Hitchcock himself—to delve into the issues surrounding the film’s production and release. This revised edition features four new chapters that provide even more fascinating insights into the film’s production and Hitchcock’s working methods. Biographies of Winston Graham—the author of the novel on which the film is based—and screenwriter Jay Presson Allen provide clues into how they brought a feminist viewpoint to Marnie. Additional material addresses Hitchcock’s unrealized project Mary Rose and his efforts to bring it to the screen, the director’s visual style and subjective approach to Marnie, and an exploration of the “real” Alfred Hitchcock. The book also addresses criticisms of the director following the HBO television movie The Girl, which depicted the filming of Marnie. With newly obtained access to the Hitchcock Collection Production Archives at the Margaret Herrick Library, the files of Jay and Lewis Allen, and the memoirs of Winston Graham—as well as interviews in 2012 with the Hitchcock crew—this new
One of the esteemed Hollywood directors and large influence on successive generation of American directors, Alfred Hitchcock (1899-1980) receives much attention. In the modern world, his films have particularly attracted the attention of feminist, political, and post-modernist critics. This collection of essays on the director and his work is divided into two main sections. Section one overviews Hitchcock's life, work, and general structural aspects of his film-making. Part two offers essays focusing on many of the more important films including Psycho, Vertigo, North by Northwest, and Rear Window.
This collection of essays examines the relationship that Vertigo enjoys with the histories and cultural imaginations of California and, more specifically, the San Francisco Bay Area. Contributors to this collection explore the specificities of place and the role such specificities play in our comprehensive efforts to understand Hitchcock's most critically acclaimed film.