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Author : John Belton
Publisher : Cambridge University Press
Page : 196 pages
File Size : 54,5 Mb
Release : 2000
Category : Performing Arts
ISBN : 0521564530
This volume provides a fresh examination of Rear Window from a variety of perspectives.
Author : John Fawell
Publisher : SIU Press
Page : 204 pages
File Size : 46,6 Mb
Release : 2004-11-22
Category : Performing Arts
ISBN : 9780809326068
In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women. Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself—that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style. Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.
Author : John Fawell
Publisher : SIU Press
Page : 208 pages
File Size : 43,8 Mb
Release : 2004-11-22
Category : Performing Arts
ISBN : 0809389703
In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women. Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself—that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style. Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.
Author : Anonim
Publisher : Unknown
Page : 128 pages
File Size : 43,8 Mb
Release : 1999
Category : Electronic
ISBN : OCLC:772805077
Author : Dasa Kollarova
Publisher : Unknown
Page : 20 pages
File Size : 43,8 Mb
Release : 2013-07
Category : Electronic
ISBN : 365646278X
Essay from the year 2011 in the subject Film Science, grade: B+, - (Anglo-American University, Prague), language: English, abstract: The Interpretation of the famous Alfred's Hitchcock's movie Rear Window based on Robin Wood's and John Belton's analysis.
Author : Stefan Sharff
Publisher : Hal Leonard Corporation
Page : 208 pages
File Size : 46,8 Mb
Release : 1997
Category : Performing Arts
ISBN : 0879100877
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.
Author : John Wesley Fawell
Publisher : Unknown
Page : 179 pages
File Size : 53,7 Mb
Release : 2001
Category : Rear window (Motion picture : 1954)
ISBN : OCLC:1310746967
Author : Marshall Deutelbaum,Leland Poague
Publisher : John Wiley & Sons
Page : 425 pages
File Size : 51,7 Mb
Release : 2009-02-24
Category : Performing Arts
ISBN : 9781405155564
This new edition of A Hitchcock Reader aims to preserve what has been so satisfying and successful in the first edition: a comprehensive anthology that may be used as a critical text in introductory or advanced film courses, while also satisfying Hitchcock scholars by representing the rich variety of critical responses to the director's films over the years. a total of 20 of Hitchcock's films are discussed in depth - many others are considered in passing section introductions by the editors that contextualize the essays and the films they discuss well-researched bibliographic references, which will allow readers to broaden the scope of their study of Alfred Hitchcock
Author : Eric A. Leuer
Publisher : GRIN Verlag
Page : 14 pages
File Size : 49,9 Mb
Release : 2009-01-13
Category : Performing Arts
ISBN : 9783640240043
Studienarbeit aus dem Jahr 2006 im Fachbereich Filmwissenschaft, Note: 2,0, Universität Wien (Institut für Zeitgeschichte), Veranstaltung: Kurs Einführung in die feministische Filmtheorie, 16 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Alfred Hitchcocks „Rear Window“ aus dem Jahr 1954 ist sicherlich einer seiner bekanntesten Filme. Er basiert auf einer Kurzgeschichte von Cornell Woolrich und gilt als einer der typischsten Hitchcocks, er selbst bezeichnete ihn als „die Möglichkeit, einen vollkommen filmischen Film zu machen“ . Dennoch war „Rear Window“ gemeinsam mit vier weiteren Werken der Öffentlichkeit lange Zeit nicht zugänglich. Hitchcock selbst hatte die Rechte an den Filmen zurückgekauft und sie als Erbe an seine Tochter vermachen wollen. Erst 1984 wurden die fünf „verlorenen“ Hitchcocks wieder aufgeführt, was ihnen einen außerordentlichen Schub an Popularität verlieh. Unabhängig davon ist „Rear Window“ ein bemerkenswerter Film. Vordergründig ein Thriller, beschäftigt er sich mit Voyeurismus, männlichen Sichtweisen, Entwicklung von Weiblichkeit, Wahrnehmung von eigener Identität, ist aber auch rein technisch ein grandioses Meisterwerk, das vielleicht sogar der beste Hitchcock sein mag. Laura Maulvey stellte in den 70er Jahren die Theorie auf, daß Hollywood-Kino in erster Linie von Männern für Männern gemacht ist und cineastische Darstellung auf Gewaltdarstellungen reduziert, die meist gegen Frauen gerichtet sind; die Frau somit als bloßes Objekt männlichen Sadismus und Voyeurismus, als dingliches „Eigentum“ des Mannes dargestellt und somit passiv als Zuseherin in eben eine solche, minderwertige Rolle gedrängt wird . Hitchcocks filmisches Konzept, psychologische Interpretationen mit der Hilfe von „Thrill“ und „Suspense“ zu verkaufen, widerspricht dabei Mulveys Theorie, im Falle von Rear Window sogar in vollkommener Hinsicht, denn hier ist es eine Frau die (zuletzt sogar buchstäblich) die „Hosen an hat“ und nicht nur einen Mörder sondern auch einen heiratsunwilligen Junggesellen „überlistet“ . „Rear Window“ ist also ein Film, der sich auf den ersten Blick mit männlichen Sichtweisen beschäftigen mag, tatsächlich aber von weiblicher Durchsetzungskraft in einer männlich dominierten Welt handelt.
Author : Steven Jacobs
Publisher : 010 Publishers
Page : 346 pages
File Size : 46,8 Mb
Release : 2007
Category : Performing Arts
ISBN : 9789064506376
Architecture plays an important role In the films of Alfred Hitchcock. Steven Jacobs devotes lengthy discussion to a series of domestic buildings with the help of a number of reconstructed floor plans made specially for this book.
Author : Steven DeRosa
Publisher : Unknown
Page : 334 pages
File Size : 43,9 Mb
Release : 2001
Category : Performing Arts
ISBN : 0571199909
An entertaining, in-depth look at the films, including Rear Window, made by Alfred Hitchcock with screenwriter John Michael Hayes. In spring 1953, the great director Alfred Hitchcock decided to take a chance and work with a young writer, John Michael Hayes. The decision turned out to be a pivotal one, for the four films that Hitchcock made with Hayes over the next several years -- Rear Window, To Catch a Thief, The Trouble with Harry, and The Man Who Knew Too Much -- represented an extraordinarily successful change of style. Each of the movies was distinguished by a combination of glamorous stars, sophisticated dialogue, and inventive plots -- James Stewart and Grace Kelly trading barbs in the tensely plotted Rear Window, Cary Grant and Grace Kelly engaging in witty repartee in To Catch a Thief -- and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts. Exploring for the first time the details of this collaboration, Steven DeRosa follows Hitchcock and Hayes through each film from initial discussions to completed picture and presents an analysis of each screenplay. He also reveals the personal story -- filled with inspiration and humor, jealousy and frustration -- of the initial synergy between the two very different men before their relationship fell apart. Writing with Hitchcock not only provides new insight into four films from a master but also sheds light on the process through which classic motion pictures are created.
Author : Walter Raubicheck,Walter Srebnick
Publisher : Wayne State University Press
Page : 310 pages
File Size : 47,7 Mb
Release : 1991
Category : Motion picture producers and directors
ISBN : 081432326X
Features essays from some fifteen authors written about Hitchcock and five of his most significant films: Rear window, Vertigo, The man who knew too much, Rope, and The trouble with Harry.
Author : Patrick McGilligan
Publisher : Harper Collins
Page : 864 pages
File Size : 50,5 Mb
Release : 2010-10-19
Category : Biography & Autobiography
ISBN : 9780062028648
Alfred Hitchcock: A Life in Darkness and Light is the definitive biography of the Master of Suspense and the most widely recognized film director of all time. In a career that spanned six decades and produced more than 60 films – including The 39 Steps, Vertigo, Psycho, and The Birds – Alfred Hitchcock set new standards for cinematic invention and storytelling. Acclaimed biographer Patrick McGilligan re-examines his life and extraordinary work, challenging perceptions of Hitchcock as the “macabre Englishman” and sexual obsessive, and reveals instead the ingenious craftsman, trickster, provocateur, and romantic. With insights into his relationships with Hollywood legends – such as Cary Grant, James Stewart, Ingrid Bergman, and Grace Kelly – as well as his 54-year marriage to Alma Reville and his inspirations in the thriller genre, the book is full of the same dark humor, cliffhanger suspense, and revelations that are synonymous with one of the most famous and misunderstood figures in cinema.
Author : David Boyd,R. Barton Palmer
Publisher : University of Texas Press
Page : 291 pages
File Size : 40,7 Mb
Release : 2010-01-01
Category : Performing Arts
ISBN : 9780292783232
Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director's oeuvre, until now there has been no extensive study of how Alfred Hitchcock's films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock's legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock's work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock's work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.
Author : Sandra Miller
Publisher : GRIN Verlag
Page : 10 pages
File Size : 43,8 Mb
Release : 2015-03-09
Category : Performing Arts
ISBN : 9783656914808
Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.