By David Boyd
Alfred Hitchcock is arguably the main recognized director to have ever made a movie. virtually single-handedly he became the suspense mystery into the most renowned movie genres of all time, whereas his "Psycho" up-to-date the horror movie and encouraged generations of administrators to mimic and adapt this such a lot Hitchcockian of films. but whereas a lot scholarly and renowned consciousness has concerned about the director's oeuvre, previously there was no large learn of ways Alfred Hitchcock's motion pictures and strategies have affected and remodeled the historical past of the movie medium. during this e-book, 13 unique essays by way of major movie students demonstrate the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping effect on specific movies, filmmakers, genres, or even on movie feedback. a few essays be aware of motion pictures that imitate Hitchcock in assorted methods, together with the films of "Brian de Palma" and thrillers equivalent to "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which were encouraged via Hitchcock's paintings, together with the Nineteen Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the rest essays examine advancements inside movie tradition and educational movie examine, together with the keenness of French New Wave filmmakers for Hitchcock's paintings, his impression at the filmic illustration of violence within the post-studio Hollywood period, and the ways that his movies became primary texts for movie theorists.
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Extra resources for After Hitchcock: Influence, Imitation, and Intertextuality
Psycho II elects to provide part of its back story by opening with a blackand-white shot of the Bates Motel neon sign (showing a vacancy) followed by a replaying of the Psycho shower sequence, almost in its entirety. The prologue begins with Marion Crane entering the bathroom and moving toward the shower, and details her violent murder, omitting just two shots—the water running past her legs to the bath drain and the famous dissolve to a closeup shot of her eye— cutting instead directly to a shot of Marion’s dead face pressed against the tile floor.
Of Psycho (1998). com. Accessed November 19, 2001. indb 28 9/27/06 3:40:13 PM for e ver hi tchcock 29 Frow, John. Rev. of Play It Again, Sam, by Horton and McDougal. htm. Accessed November 19, 2001. “Gus Van Sant vs. ” Hitchcock Annual (2001– 02): 125 –58. Hoberman, J. Rev. of Dressed to Kill. Village Voice (22 –29 July 1980): 42, 44. Horton, Andrew, and Stuart Y. McDougal, eds. Play It Again, Sam: Retakes on Remakes. Berkeley: University of California Press, 1998. Kael, Pauline. ” The New Yorker (August 4, 1980): 68 –71.
As Stéphane Aquin points out, “stripped of its soundtrack, slowed down to the limit of tolerability, the film plays like a regression through the history of cinema, back to that threshold where black and white photography haltingly becomes a moving image” (174). indb 27 9/27/06 3:40:13 PM PSYCHO 28 recycled tural” film, notably Ken Jacobs’s Tom, Tom, the Piper’s Son (1969), Gordon’s strategy is to demonstrate that each and every film is remade—that is, dispersed and transformed—in its every new context or configuration.
After Hitchcock: Influence, Imitation, and Intertextuality by David Boyd