This provocative study traces Alfred Hitchcock's long directorial career from Victorianism to postmodernism. Paula Marantz Cohen considers a sampling of Hitchcock's best films—Shadow of a Doubt, Rear Window, Vertigo, Psycho—as well as some of his more uneven ones—Rope, The Wrong Man, Topaz—and makes connections between his evolution as a filmmaker and trends in the larger society. Drawing on a number of methodologies including feminism, psychoanalysis, and family systems, the author provides an insightful look at the paradox of a Victorian-style gentleman who evolved into one of the leading masters of the modern medium of film. Cohen posits that Hitchcock's films are, in part, a masculine response to the domestic, psychological novels that had appealed primarily to women during the Victorian era. His career, she argues, can be seen as an attempt to balance "the two faces of Victorianism": the masculine legacy of law and hierarchy and the feminine legacy of feeling and imagination. Cohen asserts that Hitchcock's films reflect his Victorian legacy and serve as a map for ideological trends. She charts his development from his British period through his classic Hollywood years into his later phase, tracing a conceptual evolution that corresponds to an evolution in cultural identity—one that builds on a Victorian inheritance and ultimately discards it.
For this book, Whitty draws on primary-source materials such as interviews he conducted with associates of the director—including screenwriter Jay Presson Allen (Marnie), actresses Eva Marie Saint (North by Northwest) and Kim Novak ...
The Albert Hall sequence is perfectly balanced and in fact fulfilled by the episode at the embassy which follows immediately; in Man-1, the concert was followed by an annoyingly anticlimactic shoot-out. Herc, Hank is locked in an ...
. . . There is no complete index to Hitchcock's career like this one and critics and historians will mine Sloan's work with enormous profit. . .
... and it took eight years to complete his four - picture deal . ... Money was no object Valli , Ann Todd , and Hitchcock during filming of The Paradine ...
Known as one of the most influential filmmakers of all time, Alfred Hitchcock’s unique vision in movies like Psycho and The Birds sent shivers down our spines and shockwaves through the film industry.
This work discovers Hitchcock's early talent and skill through close readings of the films from The Pleasure Garden to the silent version of Blackmail, using shot-by-shot descriptions and interpretations.
With illustrations throughout and sidebars showcasing Hitchcocks techniques and directing style, Alfred Hitchcock reveals how some of the greatest films ever created came to be through the life and work of one of the most admired filmmakers ...
He is domineering in his insistence that the business transaction be done according to his whims , and in his treatment not only of the women but of Lowery the boss , whom he humiliates ( with his “ bottle in the desk " remark ) and ...
... been ill served by the over-use of what Christopher Williams has called 'the clumsy club of ideology' (1994, p. 276). Richard Allen shares these suspicions, stating that 'with sufficient ingenuity, all films become available for a ...
... and instead creates a sense of stasis that can be seen as a part of the feminine stereotypes (darkness, passivity) of the title sequence and its imagery, not to mention the whole Orphic bent of Vertigo's narrative and structure.