An Eye for Hitchcock
Rutgers University Press, 2004 - 306 страници
Film scholar Murray Pomerance presents a series of fascinating 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. In An Eye for Hitchcock, these movies are seen in a striking new way. Murray Pomerance takes us deep into the structure of Hitchcock's vision and his screen architecture, revealing key elements that have never been written about before. Pomerance shows 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 clearly reveals the link between Hitchcock's work and a wide range of thinkers and artists in other fields. On every page, there are illuminating critical insights and intriguing pieces of factual information. After reading this groundbreaking book, viewers of Hitchcock's films will have the rare opportunity to view them in an entirely new light.
Какво казват хората - Напишете рецензия
Не намерихме рецензии на обичайните места.
His Masters Voice
Action North by Sincerity Northwest
Spellbound Psychoanalysis Light
I forbid you to leave this room
Once in Love with Marnie
Confess and the Men Inside
Vertigo and the Golden Passage
action Alfred Hitchcock American appearance Armstrong attention audience become beginning believe called central character Church comes confession course Curtain dark desire dream Edwardes established experience eyes face fact fall Father feeling film final follow forced frame further give given hand hear Hitchcock human interest Kaplan Keller kind later lead least light Lindt Logan look Madeleine Mark Marnie means meet Michael mind moment moral mother move murder narrative never North once painting past performance perhaps person play plot police position possible prepared present Press priest produce reading reason relation Roger Rutland scene Scottie screen secret seems seen sense shot side social standing story street structure suggests surely surface thing thought tion turn University vertical Vertigo viewer watching woman York