Hitchcock

"essays in this collection show innovative approaches to understanding Hitchcock's vital legacy." --The MacGuffin, an online scholarly study of Alfred Hitchcock

Autorentext
Richard Allen is author of Projecting Illusion (1995). He has edited numerous books on the philosophy and aesthetics of film including Hitchcock: Centenary Essays (1999) with Sam Ishii[1]Gonzáles. He is also author of a forthcoming book on Hitchcock entitled Hitchcock and Cinema: Storytelling, Sexuality and Style. Sam Ishii-Gonzáles teaches aesthetics and film theory at New York University and the Film/Media Department at Hunter College. He is co-editor of Hitchcock: Centenary Essays (with Richard Allen, 1999) and has published essays on Luis Buñuel, David Lynch, and the painter Francis Bacon.

Klappentext
This collection of writings considers Hitchcock both in his time and as a continuing influence on filmmakers, films and film theory. The contributors discuss canonical films such as "Notorious" and "The Birds" alongside lesser-known works including "Juno and the Paycock" and "Frenzy".

Zusammenfassung
This new collection of writings on Alfred Hitchcock considers Hitchcock both in his time and as a continuing influence on filmmakers, films and film theory. The contributions, who include leading scholars such as Slavoj Zizek, Laura Mulvey, Peter Wollen, and James Naremore, discuss canonical films such as Notorious and The Birds alongside lesser-known works including Juno and the Paycock and Frenzy. Articles are grouped into four thematic sections: 'Authorship and Aesthetics' examines Hitchcock as auteur and investigates central topics in Hitchcockian aesthetics. 'French Hitchcock' looks at Hitchcock's influence on filmmakers such as Chabrol, Truffaut and Rohmer, and how film critics such as Bazin and Deleuze have engaged with Hitchcock's work. 'Poetics and Politics of Identity' explores the representation of personal and political in Hitchcock's work. The final section, 'Death and Transfiguration' addresses the manner in which the spectacle and figuration of death haunts the narrative universe of Hitchcock's films, in particular his subversive masterpiece Psycho.

Inhalt
Introduction PART I Authorship and aesthetics 1 Hitch: A tale of two cities (London and Los Angeles) 2 Hitchcock and humor 3 Doubles and doubts in Hitchcock: the German connection 4 The object and the face: Notorious, Bergman and the close-up 5 Unknown Hitchcock: the unrealized projects PART II French Hitchcock 6 To catch a liar: Bazin, Chabrol and Truffaut encounter Hitchcock 7 Hitchcock, The First Forty-Four Films: Chabrol and Rohmer's Politique des Auteurs 8 Hitchcock with Deleuze PART III Poetics and politics of identity 9 Music and identity: the struggle for harmony in Vertigo 10 The silence of The Birds: sound aesthetics and public space in later Hitchcock 11 The Master, the Maniac, and Frenzy: Hitchcock's legacy of horror 12 Hitchcock's Ireland: the performance of Irish identity in Juno and the Paycock and Under Capricorn 13 Hitchcock and hom(m)osexuality PART IV Death and transfiguration 14 Death drives 15 Of farther uses of the dead to the living: Hitchcock and Bentham 16 Is there a proper way to remake a Hitchcock film?

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