Bruce Isaacs
- Published in print:
- 2020
- Published Online:
- April 2020
- ISBN:
- 9780190889951
- eISBN:
- 9780190889999
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190889951.003.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Hitchcock’s clearest articulation of a pure cinema method appears in a lengthy discussion with François Truffaut in 1962. Discussing landmark works such as Rear Window and Vertigo, Hitchcock frames ...
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Hitchcock’s clearest articulation of a pure cinema method appears in a lengthy discussion with François Truffaut in 1962. Discussing landmark works such as Rear Window and Vertigo, Hitchcock frames pure cinema as a philosophical approach to film style. It is both medium-specific and part of a larger narrative describing the evolution of moving image art forms in the twentieth century. The introduction situates the relationship between Hitchcock and his “imitators,” filmmakers who reflexively evolved the pure cinema method. Brian De Palma emerges in the 1970s as the Hitchcockian imitator par excellence, the New Hollywood director who strove to take Hitchcock’s pure cinematic method further in terms of mise en scène, montage, and sound design.Less
Hitchcock’s clearest articulation of a pure cinema method appears in a lengthy discussion with François Truffaut in 1962. Discussing landmark works such as Rear Window and Vertigo, Hitchcock frames pure cinema as a philosophical approach to film style. It is both medium-specific and part of a larger narrative describing the evolution of moving image art forms in the twentieth century. The introduction situates the relationship between Hitchcock and his “imitators,” filmmakers who reflexively evolved the pure cinema method. Brian De Palma emerges in the 1970s as the Hitchcockian imitator par excellence, the New Hollywood director who strove to take Hitchcock’s pure cinematic method further in terms of mise en scène, montage, and sound design.
Bruce Isaacs
- Published in print:
- 2020
- Published Online:
- April 2020
- ISBN:
- 9780190889951
- eISBN:
- 9780190889999
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190889951.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Alfred Hitchcock’s notion of a “pure cinema” has continued to fascinate and perplex film audiences, critics, and theorists alike. The concept first emerged loosely in the 1920s, as European ...
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Alfred Hitchcock’s notion of a “pure cinema” has continued to fascinate and perplex film audiences, critics, and theorists alike. The concept first emerged loosely in the 1920s, as European avant-garde artists and intellectuals grappled with the essence of the moving image as an aesthetic form. But what, precisely, was pure cinema as an artistic philosophy and style? How did it evolve within Hitchcock’s body of work, and how was a pure cinema artistic style then developed by the filmmakers who came after Hitchcock, such as Dario Argento and Brian De Palma? The Art of Pure Cinema connects film history and philosophies of image and sound to better understand the legacy of this aesthetic tradition.Less
Alfred Hitchcock’s notion of a “pure cinema” has continued to fascinate and perplex film audiences, critics, and theorists alike. The concept first emerged loosely in the 1920s, as European avant-garde artists and intellectuals grappled with the essence of the moving image as an aesthetic form. But what, precisely, was pure cinema as an artistic philosophy and style? How did it evolve within Hitchcock’s body of work, and how was a pure cinema artistic style then developed by the filmmakers who came after Hitchcock, such as Dario Argento and Brian De Palma? The Art of Pure Cinema connects film history and philosophies of image and sound to better understand the legacy of this aesthetic tradition.
Marion Schmid
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474410632
- eISBN:
- 9781474464741
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410632.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. ...
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The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.Less
The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0007
- Subject:
- Film, Television and Radio, Film
This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been ...
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This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.Less
This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.
