William Kostlevy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195377842
- eISBN:
- 9780199777204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377842.003.0008
- Subject:
- Religion, Church History
In 1912, the MCA decided to stop production of the popular Gospel Art Calendar and establish a second community at Bullard, Texas. Never a financial success, the Bullard community would collapse in ...
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In 1912, the MCA decided to stop production of the popular Gospel Art Calendar and establish a second community at Bullard, Texas. Never a financial success, the Bullard community would collapse in 1919. World War I, the influenza epidemic and chronic debt hindered the movement. In 1918, Duke Farson and his sons left the MCA organizing the rival Immanuel Church in Chicago. Remarkable revivals continued especially in the winter of 1919–1920 in Boscobel, Wisconsin. A Shortly before Harvey’s death in 1926, W. S. Hitchcock became president. Under Hitchcock leadership debt reduction replaced evangelism as the moment’s central emphasis. As the MCA retreated in North America dynamic young leaders strengthened and established missions in India, South Africa and Europe.Less
In 1912, the MCA decided to stop production of the popular Gospel Art Calendar and establish a second community at Bullard, Texas. Never a financial success, the Bullard community would collapse in 1919. World War I, the influenza epidemic and chronic debt hindered the movement. In 1918, Duke Farson and his sons left the MCA organizing the rival Immanuel Church in Chicago. Remarkable revivals continued especially in the winter of 1919–1920 in Boscobel, Wisconsin. A Shortly before Harvey’s death in 1926, W. S. Hitchcock became president. Under Hitchcock leadership debt reduction replaced evangelism as the moment’s central emphasis. As the MCA retreated in North America dynamic young leaders strengthened and established missions in India, South Africa and Europe.
Tom Ryall
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719064524
- eISBN:
- 9781781703007
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719064524.001.0001
- Subject:
- Film, Television and Radio, Film
This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and ...
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This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).Less
This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).
Gregory Currie
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199282609
- eISBN:
- 9780191712432
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199282609.003.0009
- Subject:
- Philosophy, Aesthetics, Philosophy of Mind
This chapter provides an example of narration from an ironic point of view: Hitchcock's The Birds. It considers the roles of various devices in the expression of this point of view: the use of point ...
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This chapter provides an example of narration from an ironic point of view: Hitchcock's The Birds. It considers the roles of various devices in the expression of this point of view: the use of point of view shots, sound which is only ambiguously diegetic, careful placement of dialogue and action, and studied absence of explanatory material. From there an attack is launched on some of the ways in which this film has been interpreted, especially those ways that require us to attribute some symbolic significance to the birds. The chapter articulates a version of the view that the behaviour of the birds is related in informative ways to the psychological states of the characters, but concludes that the proposal does not work. A reflection is offered on the place of The Birds in the tradition of British horror narratives, with a brief discussion of relations to the work of M. R. James. It is suggested that Hitchcock and James exemplify an anti‐theoretical tendency in this tradition. The chapter concludes with speculation on the distinct cognitive profiles of scientific and supernatural ideas.Less
This chapter provides an example of narration from an ironic point of view: Hitchcock's The Birds. It considers the roles of various devices in the expression of this point of view: the use of point of view shots, sound which is only ambiguously diegetic, careful placement of dialogue and action, and studied absence of explanatory material. From there an attack is launched on some of the ways in which this film has been interpreted, especially those ways that require us to attribute some symbolic significance to the birds. The chapter articulates a version of the view that the behaviour of the birds is related in informative ways to the psychological states of the characters, but concludes that the proposal does not work. A reflection is offered on the place of The Birds in the tradition of British horror narratives, with a brief discussion of relations to the work of M. R. James. It is suggested that Hitchcock and James exemplify an anti‐theoretical tendency in this tradition. The chapter concludes with speculation on the distinct cognitive profiles of scientific and supernatural ideas.
Peter Buse, Núria Triana Toribio, and Andy Willis
- Published in print:
- 2007
- Published Online:
- July 2012
- ISBN:
- 9780719071362
- eISBN:
- 9781781700952
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719071362.003.0038
- Subject:
- Film, Television and Radio, Film
This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience ...
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This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience fluent in television, superhero comics, the costumbrista humour of Bruguera's comic strips, the sense of adventure of Tintin, the cinema of genres, Hitchcock and Star Wars. De la Iglesia's two projects immediately after Crimen Ferpecto – the television movie La habitación del niño and the feature-length Oxford Crimes – appear to illustrate the bifurcation in the director's work. Oxford Crimes is a literary adaptation based on the novel The Oxford Murders by Guillermo Martínez, and is to be filmed in English with a British cast. It is a thriller, and is therefore firmly rooted in a popular genre.Less
This chapter provides a synoptic view on the contributions of Álex de la Inglesia, a unique filmmaker. Jordi Sánchez Navarro, in Freaks en acción notes that de la Iglesia's films address an audience fluent in television, superhero comics, the costumbrista humour of Bruguera's comic strips, the sense of adventure of Tintin, the cinema of genres, Hitchcock and Star Wars. De la Iglesia's two projects immediately after Crimen Ferpecto – the television movie La habitación del niño and the feature-length Oxford Crimes – appear to illustrate the bifurcation in the director's work. Oxford Crimes is a literary adaptation based on the novel The Oxford Murders by Guillermo Martínez, and is to be filmed in English with a British cast. It is a thriller, and is therefore firmly rooted in a popular genre.
Barbara Straumann
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780748636464
- eISBN:
- 9780748651894
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748636464.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This comparative study of Alfred Hitchcock and Vladimir Nabokov makes an important contribution to cultural analysis by opening up the work of two canonical authors to issues of exile and migration. ...
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This comparative study of Alfred Hitchcock and Vladimir Nabokov makes an important contribution to cultural analysis by opening up the work of two canonical authors to issues of exile and migration. Questions about the contingencies of history and the rupture of the real are hardly ever brought to bear on their highly self-reflexive texts. This book counters this critical gap by reading real-life exile as the ‘absent cause’ of Alfred Hitchcock’s and Vladimir Nabokov’s brilliant virtuosity. Its ‘cross-mapping’ of the two seemingly disparate authors takes as its point of departure the conditions of exile in which they found themselves, and goes on to show how the relentless playfulness of their language and irony points to the creation of a new home in the world of signs. The book’s close reading of selected films and literary texts focuses on Speak, Memory, Lolita, The Real Life of Sebastian Knight, Suspicion, North by Northwest and Shadow of a Doubt, exploring the connections between language, imagination and exile.Less
This comparative study of Alfred Hitchcock and Vladimir Nabokov makes an important contribution to cultural analysis by opening up the work of two canonical authors to issues of exile and migration. Questions about the contingencies of history and the rupture of the real are hardly ever brought to bear on their highly self-reflexive texts. This book counters this critical gap by reading real-life exile as the ‘absent cause’ of Alfred Hitchcock’s and Vladimir Nabokov’s brilliant virtuosity. Its ‘cross-mapping’ of the two seemingly disparate authors takes as its point of departure the conditions of exile in which they found themselves, and goes on to show how the relentless playfulness of their language and irony points to the creation of a new home in the world of signs. The book’s close reading of selected films and literary texts focuses on Speak, Memory, Lolita, The Real Life of Sebastian Knight, Suspicion, North by Northwest and Shadow of a Doubt, exploring the connections between language, imagination and exile.
Bernard Berofsky
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199640010
- eISBN:
- 9780191738197
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199640010.003.0011
- Subject:
- Philosophy, Metaphysics/Epistemology, Philosophy of Mind
The critiques of the regularity theory by Fred Dretske, Michael Tooley, and D. M. Armstrong are shown to fail. A categorization of “accidental generalizations” is offered. The failures of the best ...
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The critiques of the regularity theory by Fred Dretske, Michael Tooley, and D. M. Armstrong are shown to fail. A categorization of “accidental generalizations” is offered. The failures of the best system analysis version of the regularity theory, for example, the failure to define simplicity and the failure to produce a measure to weigh the gain in simplicity against the loss of information strength, are cited. Various principles for distinguishing laws from accidental generalizations without invoking necessity are offered. Use is made of James Woodward and Christopher Hitchcock’s approach to explanation in terms of invariant generalizations. A charge of circularity resulting from the use of counterfactuals is rebutted by introducing the theory of counterfactuals of Eric Hiddleston. Results are summarized in the form of a systematicity analysis of three principles designed to distinguish laws from accidental generalizations.Less
The critiques of the regularity theory by Fred Dretske, Michael Tooley, and D. M. Armstrong are shown to fail. A categorization of “accidental generalizations” is offered. The failures of the best system analysis version of the regularity theory, for example, the failure to define simplicity and the failure to produce a measure to weigh the gain in simplicity against the loss of information strength, are cited. Various principles for distinguishing laws from accidental generalizations without invoking necessity are offered. Use is made of James Woodward and Christopher Hitchcock’s approach to explanation in terms of invariant generalizations. A charge of circularity resulting from the use of counterfactuals is rebutted by introducing the theory of counterfactuals of Eric Hiddleston. Results are summarized in the form of a systematicity analysis of three principles designed to distinguish laws from accidental generalizations.
Steven Rawle and K. J. Donnelly (eds)
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780719095863
- eISBN:
- 9781526121066
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719095863.001.0001
- Subject:
- Film, Television and Radio, Film
For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry to the bitter spat surrounding Torn Curtain, the partnership gave ...
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For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry to the bitter spat surrounding Torn Curtain, the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fields. Consequently, fascination with their work and relationship endures fifty years later. This volume of new, spellbinding essays explores their tense working relationship as well as their legacy, from crashing cymbals to the sound of The Birds.
The volume brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring new essays by leading scholars of Hitchcock’s work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb, and Jack Sullivan, the volume examines the working relationship between the pair and the contribution that Herrmann’s work brings to Hitchcock’s idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the collection explores approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann’s work with Hitchcock brought to this body of films.
Partners in Suspense examines the significance, meanings, histories and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the essays in the collection examine the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways such a partnership inspires later work.Less
For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry to the bitter spat surrounding Torn Curtain, the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fields. Consequently, fascination with their work and relationship endures fifty years later. This volume of new, spellbinding essays explores their tense working relationship as well as their legacy, from crashing cymbals to the sound of The Birds.
The volume brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring new essays by leading scholars of Hitchcock’s work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb, and Jack Sullivan, the volume examines the working relationship between the pair and the contribution that Herrmann’s work brings to Hitchcock’s idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the collection explores approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann’s work with Hitchcock brought to this body of films.
Partners in Suspense examines the significance, meanings, histories and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the essays in the collection examine the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways such a partnership inspires later work.
Walter Raubicheck and Walter Srebnick
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036484
- eISBN:
- 9780252093517
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036484.001.0001
- Subject:
- Film, Television and Radio, Film
This book explores the collaborative process between Alfred Hitchcock and the screenwriters he hired to write the scripts for three of his greatest films: Psycho, The Birds, and Marnie. Drawing from ...
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This book explores the collaborative process between Alfred Hitchcock and the screenwriters he hired to write the scripts for three of his greatest films: Psycho, The Birds, and Marnie. Drawing from extensive interviews with the screenwriters and other film technicians who worked for Hitchcock, this book illustrates how much of the filmmaking process took place not on the set or in front of the camera, but in the adaptation of the sources, the mutual creation of plot and characters by the director and the writers, and the various revisions of the written texts of the films. Hitchcock allowed his writers a great deal of creative freedom, which resulted in dynamic screenplays that expanded traditional narrative and defied earlier conventions. Critically examining the question of authorship in film, the book argues that Hitchcock did establish visual and narrative priorities for his writers, but his role in the writing process was that of an editor. While the writers and their contributions have generally been underappreciated, this book reveals that all the dialogue and much of the narrative structure of the films were the work of screenwriters Jay Presson Allen, Joseph Stefano, and Evan Hunter. The writers also shaped American cultural themes into material specifically for actors such as Janet Leigh, Tippi Hedren, and Tony Perkins. This book gives due credit to those writers who gave narrative form to Hitchcock's filmic vision.Less
This book explores the collaborative process between Alfred Hitchcock and the screenwriters he hired to write the scripts for three of his greatest films: Psycho, The Birds, and Marnie. Drawing from extensive interviews with the screenwriters and other film technicians who worked for Hitchcock, this book illustrates how much of the filmmaking process took place not on the set or in front of the camera, but in the adaptation of the sources, the mutual creation of plot and characters by the director and the writers, and the various revisions of the written texts of the films. Hitchcock allowed his writers a great deal of creative freedom, which resulted in dynamic screenplays that expanded traditional narrative and defied earlier conventions. Critically examining the question of authorship in film, the book argues that Hitchcock did establish visual and narrative priorities for his writers, but his role in the writing process was that of an editor. While the writers and their contributions have generally been underappreciated, this book reveals that all the dialogue and much of the narrative structure of the films were the work of screenwriters Jay Presson Allen, Joseph Stefano, and Evan Hunter. The writers also shaped American cultural themes into material specifically for actors such as Janet Leigh, Tippi Hedren, and Tony Perkins. This book gives due credit to those writers who gave narrative form to Hitchcock's filmic vision.
Peter Franklin
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195383454
- eISBN:
- 9780199897032
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195383454.003.0004
- Subject:
- Music, Popular, History, Western
The project of rethinking film music within a wider cultural history is now extended more explicitly into an analysis of the relation between film music, film “pleasure,” and film women. A passage ...
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The project of rethinking film music within a wider cultural history is now extended more explicitly into an analysis of the relation between film music, film “pleasure,” and film women. A passage from Claudia Gorbman is used as a route into a discussion of King Kong and its score (Max Steiner, 1933), which displays many levels of subtlety and music-historical allusion. The latter part of the chapter is devoted to extended analysis of The Bride of Frankenstein (1935) and the musical/sexual politics of Hitchcock's Rebecca (Waxman).Less
The project of rethinking film music within a wider cultural history is now extended more explicitly into an analysis of the relation between film music, film “pleasure,” and film women. A passage from Claudia Gorbman is used as a route into a discussion of King Kong and its score (Max Steiner, 1933), which displays many levels of subtlety and music-historical allusion. The latter part of the chapter is devoted to extended analysis of The Bride of Frankenstein (1935) and the musical/sexual politics of Hitchcock's Rebecca (Waxman).
Charles Barr
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.003.0005
- Subject:
- Film, Television and Radio, Film
Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of ...
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Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of the narrative. The young Soviet Union systematically transformed films from the West in order to make them ideologically acceptable for its own public, as well as to train filmmakers in the craft of editing. The discovery in Moscow of the re-edited version of the 1922 Anglo-American production Three Live Ghosts—on which Alfred Hitchcock worked as title designer—enables an unprecedentedly full case study of this transformation process. Characters and their Great War context are ruthlessly reworked, in the service of a fresh anti-capitalist story. Finally, the same process is traced in reverse, in the sound period, through Hollywood’s own re-editing, for Cold War audiences, of its pro-Soviet wartime feature North Star into an anti-Soviet narrative.Less
Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of the narrative. The young Soviet Union systematically transformed films from the West in order to make them ideologically acceptable for its own public, as well as to train filmmakers in the craft of editing. The discovery in Moscow of the re-edited version of the 1922 Anglo-American production Three Live Ghosts—on which Alfred Hitchcock worked as title designer—enables an unprecedentedly full case study of this transformation process. Characters and their Great War context are ruthlessly reworked, in the service of a fresh anti-capitalist story. Finally, the same process is traced in reverse, in the sound period, through Hollywood’s own re-editing, for Cold War audiences, of its pro-Soviet wartime feature North Star into an anti-Soviet narrative.
David Greven
- Published in print:
- 2017
- Published Online:
- March 2017
- ISBN:
- 9780190214166
- eISBN:
- 9780190214197
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190214166.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
Intimate Violence explores the consistent cold war in Hitchcock's films between his heterosexual heroines and his queer characters, usually though not always male. From a reparative psychoanalytic ...
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Intimate Violence explores the consistent cold war in Hitchcock's films between his heterosexual heroines and his queer characters, usually though not always male. From a reparative psychoanalytic perspective, David Greven merges queer and feminist approaches to Hitchcock. Using the theories of Melanie Klein, Greven argues that Hitchcock's work thematizes a constant battle between desires to injure and to repair the loved object. The feminine versus the queer conflict, as he calls it, in Hitchcock films illuminates the shared but rivalrous struggles for autonomy and visibility on the part of female and queer subjects. The heroine is vulnerable to misogyny, but she often gains an access to agency that the queer subject longs for, mistaking her partial autonomy for social power. Hitchcock's queer personae, however, wield a seductive power over his heterosexual subjects, having access to illusion and masquerade that the knowledge-seeking heroine must destroy. Freud's theory of paranoia, understood as a tool for the dissection of cultural homophobia, illuminates the feminine versus the queer conflict, the female subject position, and the consistent forms of homoerotic antagonism in the Hitchcock film. Through close readings of such key Hitchcock works as North by Northwest, Psycho, Strangers on a Train, Spellbound, Rope, Marnie, and The Birds, Greven explores the ongoing conflicts between the heroine and queer subjects and the simultaneous allure and horror of same-sex relationships in the director's films.Less
Intimate Violence explores the consistent cold war in Hitchcock's films between his heterosexual heroines and his queer characters, usually though not always male. From a reparative psychoanalytic perspective, David Greven merges queer and feminist approaches to Hitchcock. Using the theories of Melanie Klein, Greven argues that Hitchcock's work thematizes a constant battle between desires to injure and to repair the loved object. The feminine versus the queer conflict, as he calls it, in Hitchcock films illuminates the shared but rivalrous struggles for autonomy and visibility on the part of female and queer subjects. The heroine is vulnerable to misogyny, but she often gains an access to agency that the queer subject longs for, mistaking her partial autonomy for social power. Hitchcock's queer personae, however, wield a seductive power over his heterosexual subjects, having access to illusion and masquerade that the knowledge-seeking heroine must destroy. Freud's theory of paranoia, understood as a tool for the dissection of cultural homophobia, illuminates the feminine versus the queer conflict, the female subject position, and the consistent forms of homoerotic antagonism in the Hitchcock film. Through close readings of such key Hitchcock works as North by Northwest, Psycho, Strangers on a Train, Spellbound, Rope, Marnie, and The Birds, Greven explores the ongoing conflicts between the heroine and queer subjects and the simultaneous allure and horror of same-sex relationships in the director's films.
Royal S. Brown
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780719095863
- eISBN:
- 9781526121066
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719095863.003.0006
- Subject:
- Film, Television and Radio, Film
As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s ...
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As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema. Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.Less
As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema. Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.
Nathan Platte
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780199371112
- eISBN:
- 9780199371136
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199371112.001.0001
- Subject:
- Music, Popular, History, American
Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer ...
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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).Less
Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).
Steven Jacobs
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748640171
- eISBN:
- 9780748670901
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640171.001.0001
- Subject:
- Film, Television and Radio, Film
Through the feature films and documentaries of directors including Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way films ‘animate’ artworks by means ...
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Through the feature films and documentaries of directors including Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way films ‘animate’ artworks by means of cinematic techniques, such as camera movements and editing, or by integrating them into a narrative. He explores how this ‘mobilization’ of the artwork is brought into play in art documentaries and artist biopics, as well as in feature films containing key scenes situated in museums. The tension between stasis and movement is also discussed in relation to modernist cinema, which often includes tableaux vivants combining pictorial, sculptural and theatrical elements. This tension also marks the aesthetics of the film still, which have inspired prominent art photographers such as Cindy Sherman and Jeff Wall. Illustrated throughout, Jacobs’ study of the presence of art in film, alongside the omnipresence of the filmic image in today's art museums, is an engaging work for students and scholars of film and art alike.Less
Through the feature films and documentaries of directors including Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way films ‘animate’ artworks by means of cinematic techniques, such as camera movements and editing, or by integrating them into a narrative. He explores how this ‘mobilization’ of the artwork is brought into play in art documentaries and artist biopics, as well as in feature films containing key scenes situated in museums. The tension between stasis and movement is also discussed in relation to modernist cinema, which often includes tableaux vivants combining pictorial, sculptural and theatrical elements. This tension also marks the aesthetics of the film still, which have inspired prominent art photographers such as Cindy Sherman and Jeff Wall. Illustrated throughout, Jacobs’ study of the presence of art in film, alongside the omnipresence of the filmic image in today's art museums, is an engaging work for students and scholars of film and art alike.
Elisabeth Bronfen
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474427777
- eISBN:
- 9781474465083
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474427777.003.0009
- Subject:
- Literature, Criticism/Theory
The main elements of the Freudian uncanny - re-animation of the dead, doubles, repetition compulsion, omnipotence of thought - can also be seen as a catalogue of the key techniques of cinema, the ...
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The main elements of the Freudian uncanny - re-animation of the dead, doubles, repetition compulsion, omnipotence of thought - can also be seen as a catalogue of the key techniques of cinema, the magical thinking on which the affective effect of cinema is predicated. So as explore the Gothic at the heart of cinema's theorization of its own epistemological, psychological and aesthetic concerns, this chapter begins with the flashback scenes in the TV series Mad Men. Montage (and especially superimpositions) perform the spectral haunting at issue, notably how the past overshadows and encroaches upon the present and how the distinction between material and psychic reality, body and mind comes to blur. Given that, like much current cinema, Mathew Weiner's show is a genre mix, the chapter finally moves back into cinema history to explore the Gothic at the heart of film in Alfred Hitchcock's unique splice between film noir and melodrama.Less
The main elements of the Freudian uncanny - re-animation of the dead, doubles, repetition compulsion, omnipotence of thought - can also be seen as a catalogue of the key techniques of cinema, the magical thinking on which the affective effect of cinema is predicated. So as explore the Gothic at the heart of cinema's theorization of its own epistemological, psychological and aesthetic concerns, this chapter begins with the flashback scenes in the TV series Mad Men. Montage (and especially superimpositions) perform the spectral haunting at issue, notably how the past overshadows and encroaches upon the present and how the distinction between material and psychic reality, body and mind comes to blur. Given that, like much current cinema, Mathew Weiner's show is a genre mix, the chapter finally moves back into cinema history to explore the Gothic at the heart of film in Alfred Hitchcock's unique splice between film noir and melodrama.
John Billheimer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780813177427
- eISBN:
- 9780813177441
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813177427.001.0001
- Subject:
- Film, Television and Radio, Film
The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard ...
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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.Less
The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.
Tom Ryall
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719064524
- eISBN:
- 9781781703007
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719064524.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter provides an account of the films of Anthony Asquith, and draws attention to the varied body of work with which he is associated. His works have been positioned in relation to the various ...
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This chapter provides an account of the films of Anthony Asquith, and draws attention to the varied body of work with which he is associated. His works have been positioned in relation to the various directions taken by the British film during the period of his career, and he is regarded as one of the most underrated film directors in British film history. Although not ignored by scholars and critics, Asquith's work has certainly not had anything like the attention enjoyed by his most distinguished contemporary, Alfred Hitchcock, and neither has it had the consideration devoted to figures such as Michael Powell and David Lean. The selection represents a diverse career in which art cinema, middlebrow culture, and popular art are reflected, although the films chosen are not intended to indicate any particular ranking in Asquith's career as a whole.Less
This chapter provides an account of the films of Anthony Asquith, and draws attention to the varied body of work with which he is associated. His works have been positioned in relation to the various directions taken by the British film during the period of his career, and he is regarded as one of the most underrated film directors in British film history. Although not ignored by scholars and critics, Asquith's work has certainly not had anything like the attention enjoyed by his most distinguished contemporary, Alfred Hitchcock, and neither has it had the consideration devoted to figures such as Michael Powell and David Lean. The selection represents a diverse career in which art cinema, middlebrow culture, and popular art are reflected, although the films chosen are not intended to indicate any particular ranking in Asquith's career as a whole.
Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.003.0007
- Subject:
- Philosophy, General
This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas ...
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This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas of Alfred Hitchcock and Jean-Luc Godard in terms of the peculiarly cinematic knot they tie between art and politics, and suggests that they both epitomise the idea of cinema being a mass art.Less
This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas of Alfred Hitchcock and Jean-Luc Godard in terms of the peculiarly cinematic knot they tie between art and politics, and suggests that they both epitomise the idea of cinema being a mass art.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the central figure in Anthony Asquith's fugitive film A Cottage on Dartmoor: the ‘running man’ in talking pictures. Today we would find this fugitive figure in The Bourne ...
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This chapter focuses on the central figure in Anthony Asquith's fugitive film A Cottage on Dartmoor: the ‘running man’ in talking pictures. Today we would find this fugitive figure in The Bourne Ultimatum (2007), a film most would think American, but is in part British, made with a partly British crew and a Surrey-born director, Paul Greengrass. The Running Man is also the title of Carol Reed's 1963 feature whose fugitive hero is disappearing conman Laurence Harvey in a film most would rate as one of Reed's weaker films, a pallid echo of The Third Man (1948). It is a term Raymond Durgnat appropriated for his study of fugitive films in A Mirror for England. Both The Bourne Ultimatum and Alfred Hitchcock's Number Seventeen are studies in non-identity with Macguffins to match. Two key films before Hitchcock's shorts were popular dramas of internal treachery: Alberto Cavalcanti's Went the Day Well? (1942) and Thorold Dickinson's The Next of Kin (1942). Hitchcock's four other fugitive films are Bon Voyage, Aventure malgache, Stage Fright and Frenzy.Less
This chapter focuses on the central figure in Anthony Asquith's fugitive film A Cottage on Dartmoor: the ‘running man’ in talking pictures. Today we would find this fugitive figure in The Bourne Ultimatum (2007), a film most would think American, but is in part British, made with a partly British crew and a Surrey-born director, Paul Greengrass. The Running Man is also the title of Carol Reed's 1963 feature whose fugitive hero is disappearing conman Laurence Harvey in a film most would rate as one of Reed's weaker films, a pallid echo of The Third Man (1948). It is a term Raymond Durgnat appropriated for his study of fugitive films in A Mirror for England. Both The Bourne Ultimatum and Alfred Hitchcock's Number Seventeen are studies in non-identity with Macguffins to match. Two key films before Hitchcock's shorts were popular dramas of internal treachery: Alberto Cavalcanti's Went the Day Well? (1942) and Thorold Dickinson's The Next of Kin (1942). Hitchcock's four other fugitive films are Bon Voyage, Aventure malgache, Stage Fright and Frenzy.
Ian Buchanan
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748620920
- eISBN:
- 9780748652365
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748620920.003.0007
- Subject:
- Philosophy, General
This chapter explores the relation between postmodern space and practical Deleuzism. It analyses the relevant works of Gilles Deleuze and Félix Guattari and advances three propositions relating to ...
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This chapter explores the relation between postmodern space and practical Deleuzism. It analyses the relevant works of Gilles Deleuze and Félix Guattari and advances three propositions relating to the analysis of contemporary space. These propositions include the idea that Alfred Hitchcock's cinema anticipated the affect of postmodern space, that the suburban shopping mall was the harbinger of postmodern space, and that the transformations that have made postmodern space what it is can be understood in terms of deterritorialisation.Less
This chapter explores the relation between postmodern space and practical Deleuzism. It analyses the relevant works of Gilles Deleuze and Félix Guattari and advances three propositions relating to the analysis of contemporary space. These propositions include the idea that Alfred Hitchcock's cinema anticipated the affect of postmodern space, that the suburban shopping mall was the harbinger of postmodern space, and that the transformations that have made postmodern space what it is can be understood in terms of deterritorialisation.
