In this volume LaValley presents the most comprehensive look at Hitchcock to date, examining the man and his films from a three-fold approach; Hitchcock on Hitchcock, the Hitchcock Controversy, and the Hitchcock Films.
Author: Albert J. LaValley
In this volume LaValley presents the most comprehensive look at Hitchcock to date, examining the man and his films from a three-fold approach; Hitchcock on Hitchcock, the Hitchcock Controversy, and the Hitchcock Films. Five interviews with and articles by the director reveal his own conception of himself as a film-maker. The diverse reactions of the critics...are brought out through a whole section of articles on Hitchcock the director. Such masterpieces as Rear Window, Vertigo, Stranger on a Train, and Psycho are examined by a variety of critics with diverse approaches...providing the rare opportunity to see Hitchcock through the diversity of responses he evokes--Jacket.
Lindsay Anderson , “ Alfred Hitchcock . ” in Albert J . La Valley , ed . , Focus on
Hitchcock Englewood Cliffs , X . J . , 1972 , p . 50 . 8 . Herb A . Lightman . “
Hitchcock Talks about Lights , Camera , Action , ” American Cinematographer ,
May 1967 ...
Author: Gene D. Phillips
Publisher: Macmillan Reference USA
Focuses on the career and achievements of the director who envisioned a new kind of thriller.
Let us now focus on Hitchcock's early psycho-thrillers, which came well before
his 1960 adaptation of Robert Bloch's Psycho, and date back to the first half of the
1940s, when he moved to Hollywood after signing a seven-year contract with ...
Author: Jesper Gulddal
Criminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre's full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of 'genre', 'formula' or 'popular'; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.
FOCUS : An object in focus has a sharp and well - defined image . If it is out of
focus it appears blurred . Focus is mainly affected by the lens of the camera , the
projector , and your eye . • DEEP FOCUS : In deep focus , objects in the
Author: Stefan Sharff
Publisher: Hal Leonard Corporation
Illustrated throughout with stills from the film, The Art of Looking is a unique appreciation of the art of Alfred Hitchcock, made even more valuable by the first publication in any form of the full dialogue of a screen masterpiece.
Hitchcock shot this film twice - once as a silent film and then again as a sound
film . ... Maurice Yacowar , Hitchcock ' s British Films ( Hamden , CT : Archon ,
1977 ) , p . ... Lindsay Anderson , “ Alfred Hitchcock , ” in Focus on Hitchcock , ed .
Author: David Boyd
Publisher: Macmillan Reference USA
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.
Focus on Hitchcock , 1972 ; Low , R . The History of the British Film 1918 – 1929 ,
1971 ; Low , R . Film Making in 1930s Britain , 1985 ; Manz , H . P . ( ed . ) Alfred
Hitchcock , 1982 ( in French ) ; Naremore , J . Filmguide to Psycho , 1973 ...
Author: John Wakeman
Publisher: Hw Wilson Company
A two-volume biographical/critical dictionary of major, filmmakers from all countries, covering the entire history of the medium from 1890 to the present. Each director is treated in a separate essay that includes a detailed, chronological account of the subject's life and work and a summary of critical opinion. Includes filmography and a selective bibliography of books and articles.
WILLIAM S. PECHTER Bibliography : Durgnat , Raymond , The Strange Case of
Alfred Hitchcock ( 1974 ) ; LaValley , Albert , ed . , Focus on Hitchcock ( 1972 ) ;
Spoto , Donald , The Art of Alfred Hitchcock ( 1976 ) ; Taylor , John Russell , The ...
A twenty-one volume encyclopedia with 32,000 entries and more than 16,000 illustrations.
Seminar paper from the year 2001 in the subject American Studies - Culture and Applied Geography, grade: 2,0 (B), LMU Munich (American Studies Institute), course: Hauptseminar: Women, Sexuality and Popular Culture in Twentieth Century ...
Author: Uwe Sperlich
Publisher: GRIN Verlag
Seminar paper from the year 2001 in the subject American Studies - Culture and Applied Geography, grade: 2,0 (B), LMU Munich (American Studies Institute), course: Hauptseminar: Women, Sexuality and Popular Culture in Twentieth Century America, 18 entries in the bibliography, language: English, abstract: Thesis Statement: Hitchcock's Blondes were a formation of the director's own creative vision, the image of women in film during the Monroe Era did not influence him in his depiction of women Without question, Alfred Hitchcock is considered one of the most important and most influential film directors of the Twentieth Century. Throughout his career, which lasted more than 50 years, he directed over 50 feature films, many of which are now considered classics. Interestingly, he directed his most critically acclaimed movies during the relatively short life and career of one distinctive actress: Marilyn Monroe. It is a striking fact, however, that Marilyn Monroe never starred in a Hitchcock film, although it seems that her blond hair and her star-status would have made her the perfect 'Hitchcock Blonde'. In this paper I will attempt to compare Hitchcock's female characters during the Monroe Era with the image of women in film and how they differed from each other. For this purpose, it is necessary to first take a closer look at Marilyn Monroe and the image she embodied as well as women's role in general during that period. In addition, Hitchcock's background, education and attitude towards his leading ladies must also be examined. In my analysis I will focus on three films by Hitchcock: Vertigo (1958), North By Northwest (1959) and The Birds (1963). I chose these films in particular because they not only show a certain progression in Hitchcock's work in the way he treats and presents his female characters, but also because these films were highly successful. Granted Hitchcock's rich body of work has been analyzed under various points of view by many scholars, I have not
Focus on Hitchcock . Englewood Cliffs , N . J . , 1972 . Lambert , Gavin . " Fritz
Lang ' s America . " Sight and Sound , Summer 1955 , Autumn 1955 . McBride ,
Joseph and Michael Wilmington . John Ford . New York , 1975 . McBride , Joseph
Author: John L. Fell
Publisher: New York : Holt, Rinehart and Winston
Located in the Textbook/Curriculum Library Collection.