Hitchcock's Objects as Subjects

Informationen zum Autor Marc Raymond Strauss is a professor emeritus of theater and dance from Southeast Missouri State University. Klappentext Alfred Hitchcock's imperative was to charge the screen with emotion. Subject matter and acting were, for him, subordinate to "all of the technical aspects that made the audience scream." Focusing on onscreen objects in Hitchcock's films, this study examines staircases, eyeglasses, lamps, doors, candles, cigarettes, buildings, monuments, statues and dozens of other props that the director treated as subjective protagonists, their roles nearly equal to the actors'. Examining each of the director's 52 extant films, this book provides a comprehensive exploration of Hitchcock's treatment of objects as subjects. Zusammenfassung Focusing on onscreen objects in Alfred Hitchcock's films! this study examines the staircases! eyeglasses! lamps! doors! candles! cigarettes! buildings! monuments! statues and dozens of other props the director treated as subjective protagonists! with roles practically equal to the actors'. It provides a comprehensive exploration of Hitchcock's treatment of objects as subjects.

Klappentext
Alfred Hitchcock's imperative was to charge the screen with emotion. Subject matter and acting were, for him, subordinate to "all of the technical aspects that made the audience scream." Focusing on onscreen objects in Hitchcock's films, this study examines staircases, eyeglasses, lamps, doors, candles, cigarettes, buildings, monuments, statues and dozens of other props that the director treated as subjective protagonists, their roles nearly equal to the actors'. Examining each of the director's 52 extant films, this book provides a comprehensive exploration of Hitchcock's treatment of objects as subjects.

Zusammenfassung
Focusing on onscreen objects in Alfred Hitchcock's films, this study examines the staircases, eyeglasses, lamps, doors, candles, cigarettes, buildings, monuments, statues and dozens of other props the director treated as subjective protagonists, with roles practically equal to the actors'. It provides a comprehensive exploration of Hitchcock's treatment of objects as subjects.

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