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Abstract: When can we say that a Hollywood director is the author or “auteur” of sound techniques found in his or her films' And if a director should be considered a “sound auteur,” which techniques might fairly be considered part of his or her “personal style'” Though authorship has long been a major focus in film scholarship and criticism, such questions remain difficult to answer, and for good reason. The earliest auteur critics in the 1950s and 1960s defined an auteur’s style in terms of what a director could reasonably affect on the set: visual elements like shot composition, staging, lighting, and, by extension, a larger “worldview” or “interior meaning.”1 Sound, a domain often shaped extensively during postproduction ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Iris Henderson, about to embark on a train that will take her straight to a featureless fiancé, sighs with resignation, “I’ve been everywhere, I’ve done everything . . . what is left for me but marriage'” (fig. 1). She then gets clunked on the head, wakes up, and in the course of The Lady Vanishes (1938), disrupts the lives of her fellow passengers, exposes some Nazis, saves a life, and possibly the world. Along the way, she discovers that love and marriage need not be a dead-end but instead, another part of the great adventure.Iris is not alone. The films of Alfred Hitchcock are abounding with some of the most active and dynamic female characters to be found in twentieth-century cinema. The ladies don’t vanish in ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: “If the dead were to come back, what would you do with them'”As I get older, I realize that the films that have the most meaning for me reflect something of my own life. They’re often stepping-stones in my ongoing development. Alfred Hitchcock’s films influenced me early and mirror my own life in that they’re often about a man struggling to recognize his personal responsibility within events that happen to him. And, amongst contemporary filmmakers, Jonathan Glazer similarly speaks to the struggles of what it means to be human. I see myself in the work of these two men and particularly in their respective films, Vertigo (1958) and Birth (2004).I discovered Francois Truffaut’s book Hitchcock when it came out in the ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: The 1937 film Young and Innocent has been given far less consideration than Alfred Hitchcock’s more frequently discussed British romantic thrillers The Man Who Knew Too Much (1934), The 39 Steps (1935), and The Lady Vanishes (1938). Yet the jaunty romp taken by an unemployed screenwriter unjustly accused of murder and the young Constable’s daughter who joins him on the lam uniquely captures the director’s deep affection for the British countryside. And it features one of his all-time favorite female leads, Nova Pilbeam, admirably taking her first turn in a mature role at the age of eighteen, several years after playing the precocious adolescent kidnapped in The Man Who Knew Too Much. Indeed, Hitchcock notably ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: In Mr. and Mrs. Smith (1941), Alfred Hitchcock displays his characteristically reflexive approach: a marriage of opposing forces is both the formal proposition and the narrative project. Agonistic and performative gamesmanship characterizes the Smiths’ relationship, while Hitchcock plays with screwball genre conventions in a narrative that toys with marital norms and laws to reveal the cycle of struggle and forgiveness necessary to marriage and to American society. Reinforcing this idea, the film’s text exhibits a veritable game board motif of X’s and O’s, incorporated in everything from mise-en-scène to montage. Combining seemingly contradictory elements, Hitchcock balances formal experimentation and ideological ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Thinking about love in Hitchcock’s films, why might one focus on antagonists' Because, as it happens, we can learn almost as much about love from Hitchcock’s villains as from his heroines and heroes. Light is defined by darkness, heat by cold, wealth by poverty, and love by such opposites as greed, lust, egotism, and—for Hitchcock, anyway—what he saw as amorous deviations.Almost all opposition to true love in Hitchcock’s films involves a desire to possess and control someone and, usually, something as well: money, social status, forbidden knowledge, political power, and so on. Avarice as an accompanying vice is especially common among the people attempting to thwart Hitchcock’s lovers. The theme of possession takes ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Even readers who have never seen a movie directed by Alfred Hitchcock know that nightmares are integral to the Hitchcock brand. Beginning in 1941, and rapidly accelerating in 1957 following the success of the television series Alfred Hitchcock Presents, the publishers that produced the anthologies bearing his name, if not his direct editorial involvement, often announced that they were aimed to provoke nightmares in titles like Alfred Hitchcock Presents: Stories for Late at Night (1961), Alfred Hitchcock Presents: Stories Not for the Nervous (1965), and Alfred Hitchcock Presents: Stories That Scared Even Me (1967). The Introduction to Alfred Hitchcock Presents: More Stories to Stay Awake By (1971) begins:In ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Alfred Hitchcock gave one of his most endlessly quoted remarks—“The Lodger was the first true ‘Hitchcock movie’ ”— in the interview sessions that produced François Truffaut’s invaluable book (Truffaut 43). It is quoted again in the title of film historian Henry K. Miller’s new study of Hitchcock’s early career, The First True Hitchcock, which is subtitled The Making of a Filmmaker, although the volume travels far beyond Hitchcock’s beginnings and the particulars of The Lodger: A Story of the London Fog (1927), the picture that set him on several of the paths he would follow forever after. Unlike that movie, with its multilayered but linear narrative arc, Miller’s book is fond of byways, detours, and excurses ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Rope (1948) maintains a special place in the film canon because of the way it avoids conventional editing so that screen time and narrative time are nearly equivalent. Although Rope has the reputation of being composed of a single long take interrupted only by the technological necessity of changing reels after each thousand-foot length of film was shot, Neil Badmington rightly emphasizes near the outset of his recent book, Perpetual Movement: Alfred Hitchcock’s Rope, part of the SUNY Press “Horizons of Cinema” series, that “anyone who writes about the film in our era of easy access and still claims that Rope is, or appears to be, one continuous shot is guilty of careless, casual scholarship” (15), noting, “The ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: How the words appear. In front of me on the desk is a copy of volume 38 of the journal October. Published in the fall of 1986, it has become a little scuffed and yellow with age—an October in the September of its years. Inside is one of Slavoj Žižek’s early publications in English—so early, in fact, that it is not mentioned in several bibliographies of his work. The piece is titled “Hitchcock,” and a note at the foot of its first page informs readers that “the following analyses by Slavoj Žižek are taken from a book he edited with Mladen Dolar, Hitchcock (Ljubljana, DDU Univerzum, collection Analecta, 1984). The French translation from the Slovene will be published in Paris this fall by Navarin under the title ... Read More PubDate: 2022-07-16T00:00:00-05:00
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Abstract: Released in 1940, Rebecca was directed by Alfred Hitchcock, produced by David O. Selznick, and adapted from the bestselling novel of the same name by Daphne du Maurier. Long contested in terms of its authorship, controversies stoked by the director’s own qualifications about the film’s merit, Rebecca has been reclaimed, since Tania Modleski’s groundbreaking chapter in the first edition of her book The Women Who Knew Too Much: Hitchcock and Feminist Theory (Routledge, 1988), as a significant Hitchcock work. Taking up as well as challenging some of Modleski’s claims, Patricia White’s Uninvited: Classical Hollywood Cinema and Lesbian Representability (Indiana University Press, 1999) persuasively framed Rebecca as a ... Read More PubDate: 2022-07-16T00:00:00-05:00
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