In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.…mehr
In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Luke Robinson is Casual Academic at the School of the Arts and Media, University of New South Wales Sydney and University of Technology Sydney. Melanie Robson is Adjunct Lecturer at the School of the Arts and Media, University of New South Wales Sydney
Inhaltsangabe
* 1. One Shot: Hitchcock's Crime Scenes * Luke Robinson and Melanie Robson * 2. The Lodger (1927): Contaminating British silent cinema * Sebastian Smoli¿ski * 3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink * Tom Gunning * 4. Sabotage (1936): A thriller and its aftereffects * Helen Hughes * 5. Rebecca (1940): The impure object of vision * Bruce Isaacs * 6. Shadow of a Doubt (1943): Performing a murder(er) * Melanie Robson * 7. Aventure Malgache (1944): French colonial tensions * Charles Barr * 8. Rope (1948): Chromatic design and neon light * Sarah Street * 9. Rear Window (1954): Intermedialities of peeping in the plural * Martin P. Rossouw * 10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth * Susana Viegas * 11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood * Megan Carrigy * 12. The Wrong Man (1956): Towards singularity * Noa Steimatsky * 13. Vertigo (1958): Labor in a single shot * Domietta Torlasco * 14. The Birds (1963): Trauma and the right of reply * Julian Murphet * 15. Marnie (1964): Restroom * Jodi Brooks * 16. Frenzy (1972): Pulling focus between a woman's face and a face of death * Luke Robinson * Index
* 1. One Shot: Hitchcock's Crime Scenes * Luke Robinson and Melanie Robson * 2. The Lodger (1927): Contaminating British silent cinema * Sebastian Smoli¿ski * 3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink * Tom Gunning * 4. Sabotage (1936): A thriller and its aftereffects * Helen Hughes * 5. Rebecca (1940): The impure object of vision * Bruce Isaacs * 6. Shadow of a Doubt (1943): Performing a murder(er) * Melanie Robson * 7. Aventure Malgache (1944): French colonial tensions * Charles Barr * 8. Rope (1948): Chromatic design and neon light * Sarah Street * 9. Rear Window (1954): Intermedialities of peeping in the plural * Martin P. Rossouw * 10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth * Susana Viegas * 11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood * Megan Carrigy * 12. The Wrong Man (1956): Towards singularity * Noa Steimatsky * 13. Vertigo (1958): Labor in a single shot * Domietta Torlasco * 14. The Birds (1963): Trauma and the right of reply * Julian Murphet * 15. Marnie (1964): Restroom * Jodi Brooks * 16. Frenzy (1972): Pulling focus between a woman's face and a face of death * Luke Robinson * Index
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