The art of pure cinema: Hitchcock and his imitators
""This is not a book about Hitchcock. There are many of those in critical circles, and I wouldn't presume to add a great deal more to the landmark studies of scholars such as Raymond Bellour, Robin Wood, and William Rothman, among many others. But it is a book that attempts to situate...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
[2020]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | ""This is not a book about Hitchcock. There are many of those in critical circles, and I wouldn't presume to add a great deal more to the landmark studies of scholars such as Raymond Bellour, Robin Wood, and William Rothman, among many others. But it is a book that attempts to situate Hitchcockian cinema, and more specifically, an aspect of the Hitchcockian style in the aftermath of Hitchcock's rich, complex, and sometimes unwieldy filmmaking career. In a series of discussions with François Truffaut in 1962, Hitchcock, then at the height of his influence as a filmmaker and prior to the perceived decline of his cinema in the later 1960s, gestures toward an artistic disposition in the following exchange on Rear Window (1954): "Truffaut: I imagine that the story appealed to you primarily because it represented a technical challenge: a whole film from the viewpoint of one man, and embodied in a single, large set. Hitchcock: Absolutely. It was a possibility of doing a purely cinematic film. You have an immobilized man looking out. That's one part of the film. The second part shows what he sees and the third part shows how he reacts. This is actually the purest expression of a cinematic idea." ""-- |
| Beschreibung: | Includes bibliographical references and index. Includes filmography |
| Beschreibung: | 256 Seiten Illustrationen |
| ISBN: | 9780190889951 9780190889968 |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgments Introduction: The Myth of Pure Cinema ix 1 I. THE EVOLUTION OF PURE CINEMA 1. Pure Cinema in Context 15 2. Hitchcocks Interlocutors 41 II. THE MECHANICS OF PURE CINEMA 3. The Part Is Greater Than the Whole: Toward an Aesthetic Philosophy of the Fragment 61 4. The Fragmented Frame 1: Expression, Abstraction, Schematization 84 5. Intensified Schematics: Bava, Argento, and De Palmas Body Double 108 6. The Fragmented Frame 2: Segmentation 127 7. Music You Can Hear: Toward an Abstract Soundscape 164 Conclusion: The Fractal Image in De Palmas Femme Fatale 185 Notes Bibliography Filmography Index 213 233 241 245
j with François Truffaut m 1962. Alfred Hitchcock 1 described his masterpiece Rear Window as the purest expression of a cinematic idea. But what did Hitchcock mean by pure cinema? Was pure cinema a function of mise en scène, or composition within the frame? Was it a function of montage, “of pieces of film assembled ? This notion of pure cinema has intrigued and perplexed critics, theorists, and filmmakers alike In the decades following this discussion. And even across his forty year career, Hitchcock s own ideas about pure cinema remained mired in a lack of detail, clarity, and analytical precision. The Art of Pure Cinema Is the first book to examine the historical foundations and stylistic mechanics of pure cinema.
|
| adam_txt |
Contents Acknowledgments Introduction: The Myth of Pure Cinema ix 1 I. THE EVOLUTION OF PURE CINEMA 1. Pure Cinema in Context 15 2. Hitchcocks Interlocutors 41 II. THE MECHANICS OF PURE CINEMA 3. The Part Is Greater Than the Whole: Toward an Aesthetic Philosophy of the Fragment 61 4. The Fragmented Frame 1: Expression, Abstraction, Schematization 84 5. Intensified Schematics: Bava, Argento, and De Palmas Body Double 108 6. The Fragmented Frame 2: Segmentation 127 7. Music You Can Hear: Toward an Abstract Soundscape 164 Conclusion: The Fractal Image in De Palmas Femme Fatale 185 Notes Bibliography Filmography Index 213 233 241 245
j with François Truffaut m 1962. Alfred Hitchcock 1 described his masterpiece Rear Window as "the purest expression of a cinematic idea." But what did Hitchcock mean by pure cinema? Was pure cinema a function of mise en scène, or composition within the frame? Was it a function of montage, “of pieces of film assembled"? This notion of pure cinema has intrigued and perplexed critics, theorists, and filmmakers alike In the decades following this discussion. And even across his forty year career, Hitchcock's own ideas about pure cinema remained mired in a lack of detail, clarity, and analytical precision. The Art of Pure Cinema Is the first book to examine the historical foundations and stylistic mechanics of pure cinema. |
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| spelling | Isaacs, Bruce Verfasser (DE-588)1221657240 aut The art of pure cinema Hitchcock and his imitators Bruce Issacs New York Oxford University Press [2020] © 2020 256 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index. Includes filmography ""This is not a book about Hitchcock. There are many of those in critical circles, and I wouldn't presume to add a great deal more to the landmark studies of scholars such as Raymond Bellour, Robin Wood, and William Rothman, among many others. But it is a book that attempts to situate Hitchcockian cinema, and more specifically, an aspect of the Hitchcockian style in the aftermath of Hitchcock's rich, complex, and sometimes unwieldy filmmaking career. In a series of discussions with François Truffaut in 1962, Hitchcock, then at the height of his influence as a filmmaker and prior to the perceived decline of his cinema in the later 1960s, gestures toward an artistic disposition in the following exchange on Rear Window (1954): "Truffaut: I imagine that the story appealed to you primarily because it represented a technical challenge: a whole film from the viewpoint of one man, and embodied in a single, large set. Hitchcock: Absolutely. It was a possibility of doing a purely cinematic film. You have an immobilized man looking out. That's one part of the film. The second part shows what he sees and the third part shows how he reacts. This is actually the purest expression of a cinematic idea." ""-- Hitchcock, Alfred 1899-1980 (DE-588)118551647 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Hitchcock, Alfred / 1899-1980 / Criticism and interpretation Hitchcock, Alfred / 1899-1980 / Influence Hitchcock, Alfred 1899-1980 (DE-588)118551647 p Rezeption (DE-588)4049716-1 s DE-604 Erscheint auch als Online-Ausgabe, PDF 978-0-19-088997-5 Erscheint auch als Online-Ausgabe, EPUB 978-0-19-088998-2 Erscheint auch als Online-Ausgabe 978-0-19-088999-9 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032158868&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032158868&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | The art of pure cinema Hitchcock and his imitators |
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