The main entire quantity ever released on Alfred Hitchcock, protecting his profession and legacy in addition to the wider cultural and highbrow contexts of his paintings.
-Contains thirty chapters through the prime Hitchcock scholars
-Covers his lengthy occupation, from his earliest contributions to different directors' silent movies to his final uncompleted final film
-Details the long-lasting legacy he left to filmmakers and audiences alike
Read Online or Download A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors) PDF
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Additional resources for A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)
9 4 ) , 'yet h i s c u r e h a s d e s t r o y e d at a b l o w b o t h t h e r e a l i t y a n d t h e i l l u s i o n o f J u d y / M a d e l e i n e , h a s m a d e the i l l u sion of Madeleine's death real ... T r i u m p h and tragedy are i n d i s t i n g u i s h i b l y f u s e d ' (p. 9 5 ) . R e t u r n i n g to Vertigo w i t h added perspective, W o o d (1989) analyses t h e o p e n i n g o f t h e f i l m ( t h e c h a s e a n d t h e p o l i c e m a n ' s fall) as 'the m o s t e x t r e m e a n d a b r u p t i n s t a n c e o f e n f o r c e d a u d i e n c e i d e n t i f i c a t i o n in a l l o f H i t c h c o c k ' (p.
She unearths 'buried references to issues of class and race' (p. 3 8 ) in this film: 'Madeleine's upper-class image entails its opposite: the lower-class Judy' (p. 3 7 ) ; Elster's nostalgia for the days men had 'freedom and power' glorifies exploitative chauvinism and imperialism, whose victims are personified in the Spanish Carlotta Valdes. Wexman concludes that 'Hitchcock has masked the ideological workings of rac ism and xenophobia beneath a discourse of sexuality which is itself idealized as romantic love' (p.
The struggle between the constant yearning for the ideal, and the necessity of living in a world that is far from ideal, whose people are frail and imperfect. It is a film of uncanny maturity and insight, and if its characters are flawed, that is, after all, only a measure of their patent humanity, and of the film's unsentimental yet profound compassion ( 1 9 7 6 , p. 3 3 7 ) . Wood ( 1 9 7 7 ) shows how the original story of Pierre Boileau and Thomas Narcejac, D'Entre les Morts, with its easy pessimism that is as much a sentimental self-indulgence as its opposite' and characters that are either helpless devitalised dupes ...