Author: Tom Cohen
Publisher: U of Minnesota Press
ISBN: 0816641714
Size: 71.10 MB
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This second volume presents the director's work as a radical collage of images and absences, letters and numbers, citations and sounds that together mark Hitchcock as a knowing figure who was entirely aware of this - and cinema's place at the dawn of a global media culture, as well as the cinema's revolutionary impact on perception and memory.
Language: en
Pages: 300
Pages: 300
This second volume presents the director's work as a radical collage of images and absences, letters and numbers, citations and sounds that together mark Hitchcock as a knowing figure who was entirely aware of this - and cinema's place at the dawn of a global media culture, as well as
Language: en
Pages: 300
Pages: 300
This second volume presents the director's work as a radical collage of images and absences, letters and numbers, citations and sounds that together mark Hitchcock as a knowing figure who was entirely aware of this - and cinema's place at the dawn of a global media culture, as well as
Language: en
Pages: 284
Pages: 284
Tom Cohen's radical exploration of Hitchcock's cinema departs from conventional approaches--psychoanalytic, feminist, political--to emphasize the dense web of signatures and markings inscribed on and around his films. Aligning Hitchcock's agenda with the philosophical and aesthetic writings of Nietzsche, Derrida, and Benjamin, Cohen's project dramatically recasts the history and meaning of
Language: en
Pages: 222
Pages: 222
Why are we still drawn to the work of Alfred Hitchcock so long after his final film appeared? What remains to see? What could there possibly be left to say about tales that are overwhelmingly familiar? Why, moreover, have many of Hitchcock’s films entered the popular imagination and enjoyed an
Language: en
Pages: 208
Pages: 208
“A way to rethink the ways we watch and engage with all films, not just the Hitchcockian ones.”—Popmatters No filmmaker has more successfully courted mass-audience understanding than Alfred Hitchcock, and none has been studied more intensively by scholars. In Hidden Hitchcock, D. A. Miller does what seems impossible: he discovers
Language: en
Pages: 394
Pages: 394
This new edition of A Hitchcock Reader aims to preserve what has been so satisfying and successful in the first edition: a comprehensive anthology that may be used as a critical text in introductory or advanced film courses, while also satisfying Hitchcock scholars by representing the rich variety of critical
Language: en
Pages: 269
Pages: 269
The Men Who Knew Too Much innovatively pairs these two greats, showing them to be at once classic and contemporary. Over a dozen major scholars and critics take up works by James and Hitchcock, in paired sets, to explore the often surprising ways that reading James helps us watch Hitchcock
Language: en
Pages: 302
Pages: 302
Stars and Silhouettes: The History of the Cameo Role in Hollywood traces the history of the cameo as it emerged in twentieth-century cinema. Although the cameo has existed in film culture for over a century, Joceline Andersen explains that this role cannot be strictly defined because it exists as a
Language: de
Pages: 458
Pages: 458
Viele Spielfilme beschäftigen sich mehr oder weniger intensiv mit ihren »Nachbarmedien«: Theater, Malerei, Fotografie, Fernsehen und Video, aber auch mit Telefon, Computer, Radio, Zeitung und Schrift. Das Handbuch »Medienreflexion im Film« stellt sich die Aufgabe, dieses Phänomen erstmals systematisch zu untersuchen, um in der Gesamtschau die Frage zu klären, wie
Language: en
Pages: 304
Pages: 304
Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The