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Author: R. Barton Palmer Publisher: State University of New York Press ISBN: 1438463863 Category : Performing Arts Languages : en Pages : 344
Book Description
Offers new and compelling perspectives on the deeply moral nature of Hitchcock’s films. In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train, Rear Window, Vertigo, North by Northwest, and Frenzy, the contributors to this book strive to throw light on the way Hitchcock depicts a moral—if not amoral or immoral—world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker’s moral gaze and the inflection point it provides for modern cinema. R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson University. His previous books include Invented Lives, Imagined Communities: The Biopic and American National Identity (coedited with William H. Epstein) and Hitchcock at the Source: The Auteur as Adaptor (coedited with David Boyd), both also published by SUNY Press. Homer B. Pettey is Professor of Film and Literature at the University of Arizona. His previous books include Film Noir and International Noir, both coedited with R. Barton Palmer. Steven M. Sanders is Professor Emeritus of Philosophy at Bridgewater State University. He is the author or editor of many books, including The Philosophy of Michael Mann (coedited with Aeon J. Skoble and R. Barton Palmer) and The Philosophy of Steven Soderbergh (coedited with R. Barton Palmer).
Author: R. Barton Palmer Publisher: State University of New York Press ISBN: 1438463863 Category : Performing Arts Languages : en Pages : 344
Book Description
Offers new and compelling perspectives on the deeply moral nature of Hitchcock’s films. In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train, Rear Window, Vertigo, North by Northwest, and Frenzy, the contributors to this book strive to throw light on the way Hitchcock depicts a moral—if not amoral or immoral—world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker’s moral gaze and the inflection point it provides for modern cinema. R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson University. His previous books include Invented Lives, Imagined Communities: The Biopic and American National Identity (coedited with William H. Epstein) and Hitchcock at the Source: The Auteur as Adaptor (coedited with David Boyd), both also published by SUNY Press. Homer B. Pettey is Professor of Film and Literature at the University of Arizona. His previous books include Film Noir and International Noir, both coedited with R. Barton Palmer. Steven M. Sanders is Professor Emeritus of Philosophy at Bridgewater State University. He is the author or editor of many books, including The Philosophy of Michael Mann (coedited with Aeon J. Skoble and R. Barton Palmer) and The Philosophy of Steven Soderbergh (coedited with R. Barton Palmer).
Author: William Rothman Publisher: ISBN: Category : Languages : en Pages : 392
Book Description
Confronting murder in the newspaper, on screen, and in sensational trials, we often feel the killer is fundamentally incomprehensible and morally alien. But this was not always the popular response to murder. In Murder Most Foul, Karen Halttunen explores the changing view of murder from early New England sermons read at the public execution of murderers, through the nineteenth century, when secular and sensational accounts replaced the sacred treatment of the crime, to today's true crime literature and tabloid reports. The early narratives were shaped by a strong belief in original sin and spiritual redemption, by the idea that all murders were natural manifestations of the innate depravity of humankind. In a dramatic departure from that view, the Gothic imagination--with its central conventions of the fundamental horror and mystery of the crime--seized upon the murderer as a moral monster, separated from the normal majority by an impassable gulf. Halttunen shows how this perception helped shape the modern response to criminal transgression, mandating criminal incarceration, and informing a social-scientific model of criminal deviance. The Gothic expression of horror and inhumanity is the predominant response to radical evil today; it has provided a set of conventions surrounding tales of murder that appear to be natural and instinctive, when in fact they are rooted in the nineteenth century. Halttunen's penetrating insight into her extraordinary treasure trove of creepy popular crime literature reveals how our stories have failed to make sense of the killer and how that failure has constrained our understanding and treatment of criminality today.
Author: William Rothman Publisher: State University of New York Press ISBN: 1438443188 Category : Performing Arts Languages : en Pages : 506
Book Description
First published in 1982, William Rothman's Hitchcock is a classic work of film criticism. Written in an engaging style that is philosophically sophisticated yet free of jargon, and using over nine hundred images from the films to illustrate and back up its critical claims, the book follows six different Hitchcock films as they unfold, moment by moment, from first shot to last. In addition to a thoughtful new preface and the original readings of The Lodger (1927), Murder! (1930), The 39 Steps (1935), Shadow of a Doubt (1943), and Psycho (1960), this expanded edition includes a groundbreaking new chapter—now the book's longest—on Marnie (1964), Hitchcock's most heartfelt yet most controversial film. Hitchcock never tired of quoting Oscar Wilde's line, "And all men kill the thing they love." Dark moods therefore prevail in the five original chapters, culminating in the reading of Psycho, but in demonstrating how Marnie overcomes, or transcends, the murderous aspect of Hitchcock's art, this new chapter balances the scales and gives an important new dimension to the book. With exemplary precision, Hitchcock, Second Edition shows how Hitchcock films express, cinematically, serious thoughts about such matters as the nature and relationships of love, murder, sexuality, marriage, and theater—and about their own medium. In so doing, it keeps faith with the idea that Hitchcock was a master, perhaps the master, of what he called the "art of pure cinema." However, insofar as it investigates philosophically the conditions of authorship in the medium of film, it is an auteurist study unlike any other. By attending to the films themselves and to the ways we experience them, rather than allowing some theory to dictate what to say about them, the book proves the fruitfulness of an approach that is open and responsive to the ways serious films are capable of teaching us how to think seriously about them.
Author: Mark William Roche Publisher: Bloomsbury Publishing ISBN: 1474221327 Category : Philosophy Languages : en Pages : 216
Book Description
Hitchcock was a masterful director, popular with audiences of all ages and critically acclaimed both during and after his unusually long career. What may have been sensed by many viewers but not fully articulated until now is the extent to which his works subtly engage philosophical themes: What is evil, and how does it shield and reveal itself? Can we know what is inside the mind of another person? What is at stake when one knows the truth but cannot speak of it or cannot persuade others? How is Hitchcock's loving critique of humanity manifested in his films? Why are Hitchcock's works so often ambiguous? What is the hidden purpose and theory behind his use of humor? Hitchcock employs cinematic techniques–from camera angles and use of light to editing and sound–partly to convey suspense and drama but also to engage and advance philosophical issues, ranging from identity crises to moral ugliness. Roche unlocks Hitchcock's engagement with philosophical themes, and he does so in a way that appeals to both the novice and the seasoned philosopher, as well as enthusiastic admirers of Hitchcock's films.
Author: Sidney Gottlieb Publisher: Indiana University Press ISBN: 086196988X Category : Art Languages : en Pages : 250
Book Description
When Richard Schickel stated unequivocally in 1972 that "We're living in a Hitchcock world, all right", he did so without even mentioning the film that now stands at the top of the Sight & Sound Greatest Films of All Time poll: Vertigo. That omission needs to be redressed when we think about the Hitchcock world we live in now. Haunted by Vertigo: Hitchcock's Masterpiece Then and Now gathers essays that offer a variety of approaches to what many consider to be Hitchcock's signature film, one that shows him operating at full strength as a cinematic artist portraying some of the defining elements of modern life: romantic exhilaration and anxiety, the attractiveness and elusiveness of love, and the interpenetration of pain, pleasure, life, and death in our psyche and our culture. The pieces in this volume explore numerous aspects of how, broadly speaking, Vertigo is about characters haunted by memories and desires; how the film itself is haunted by numerous literary and cinematic fore- bearers; and how it continues to haunt not only filmmakers but artists working in other media as well. Essays that concentrate on formative or interpretive contexts of the film, including Greek mythology, early German cinema, film noir, an ensemble of (mostly) French writers and filmmakers, andmodern and postmodern art are complemented by others that present close readings of hidden details in the film, its use of multiple gazes that underscore its meaning and drama, the darker sides of even gestures of love and hospitality, and how the film embodies Hitchcock's "late style". Taken together the essays in the volume reinforce how Vertigo is, like the majestic trees visited by the two main characters in the film, sempervirens – an enduring masterpiece of then, now, and, we can safely say, the future.
Author: Murray Pomerance Publisher: State University of New York Press ISBN: 1438485263 Category : Performing Arts Languages : en Pages : 454
Book Description
Following from An Eye for Hitchcock and A Dream for Hitchcock, this third volume of reflections upon Alfred Hitchcock's work gives extensive meditations on six films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion. Murray Pomerance's sources come from a wide territory of interest, including production study, philosophy, cultural history, and more. The book is written as an homage to, and in many ways address to, not only the story content of these films but, more importantly, their overall filmic texture, which involves compositions, visual nuances, sounds, rhythms, and Hitchcock's unique treatments of human experience. The voyage theme plays a key—and moving—role in all the films discussed here.
Author: Laurence Simmons Publisher: Springer Nature ISBN: 3030624366 Category : Performing Arts Languages : en Pages : 367
Book Description
Maverick Slovenian cultural theorist, philosopher and psychoanalyst Slavoj Žižek has made his name elaborating the complexities of psychoanalytic and Marxist theory through the exotic use of examples from film and popular culture. But what if we were to take Žižek’s pretensions to cinephilia and film criticism seriously? In this book, adopting Žižek’s own tactic of counterintuitive observation, we shall read the corpus of Alfred Hitchcock’s films (‘one of the great achievements of Western civilization’) and Žižek’s idiosyncratic citation of them in order to arrive at a position where we can identify the core commitments that inform Žižek’s own work. From the practice of Hitchcock we shall (hopefully) arrive at a theory of Žižek (just as Žižek in his collection Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (Verso, 1992) arrives at a theory of Lacan from the practice of Hitchcock). To achieve this goal each chapter looks at a specific film by Hitchcock and explores a specific key concept crucial to the elaboration and core of Žižek’s ideas.
Author: Murray Pomerance Publisher: SUNY Press ISBN: 1438472072 Category : Performing Arts Languages : en Pages : 276
Book Description
Explores Hitchcocks repeated voyages into the dreamlike. A Dream of Hitchcock examines the recurring motif of the dream in Hitchcocks workdreamscapes, dream processes, the dream effectby 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 filmmakers 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 Pomerances distinctive method for thinking through Hitchcocks 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 Hitchcocks 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
Author: Murray Pomerance Publisher: Rutgers University Press ISBN: 9780813533957 Category : Performing Arts Languages : en Pages : 324
Book Description
Film scholar Murray Pomerance presents a series of meditations on six films directed by the legendary Alfred Hitchcock, a master of the cinema. Two of the films are extraordinarily famous and have been seen - and misunderstood - countless times: North by Northwest and Vertigo. Two others, Marnie and Torn Curtain, have been mostly disregarded by viewers and critics, or considered to be colossal mistakes, while two others, Spellbound and I Confess have received almost no critical attention at all. Hitchcock's vision and his screen architecture, revealing key elements and showing how Hitchcock was profoundly interested not only in social class, but also in humanity's philosophical predicament, as we traverse a world fraught with shifting appearances, multiple deceptions, vulnerability and peril. Pomerance also reveals the link between Hitchcock's work and a wide range of thinkers and artists in other fields.
Author: William Rothman Publisher: Columbia University Press ISBN: 0231537301 Category : Performing Arts Languages : en Pages : 317
Book Description
William Rothman argues that the driving force of Hitchcock’s work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, “Each man kills the thing he loves,” with the quintessentially American philosophy, articulated in Emerson’s writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain’s strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question “What if anything justifies killing?,” which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock’s career, Rothman discerns a progression in the films’ meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock’s most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock’s way of thinking cinematically and the philosophical way of thinking Emerson’s essays exemplify. He finds that the terms in which Emerson thought about reality, about our “flux of moods,” about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.
Author: R. Barton Palmer
Author: R. Barton Palmer
Author: William Rothman
Author: William Rothman
Author: Mark William Roche
Author: Sidney Gottlieb
Author: Murray Pomerance
Author: Laurence Simmons
Author: Murray Pomerance
Author: Murray Pomerance
Author: William Rothman