Download Alfred Hitchcock by Nicholas Haeffner PDF

By Nicholas Haeffner

A entire advent to Alfred Hitchcock?s significant British and Hollywood movies, which navigates the reader in the course of the wealth of severe commentaries.Locates the director?s impressive physique of labor inside of traditions of intellectual, middlebrow and lowbrow tradition, and their entice kinds of viewers the writer explores Hitchcock?s mastery of the technical ability used to construct and preserve suspense. Examines a mode which constantly featured, homicide, espionage, deception, unsuitable identities, chase sequences, wry touches of humor and low intrusion of the macabre in a number of mixtures

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Furthermore, although The Wrong Man has its hero triumph at the end, the view of society and human relationships in both this film and in Vertigo is exceptionally bleak and pessimistic. The television series, Alfred Hitchcock Presents, which started in 1955 was, however, an immediate success, making Hitchcock the most famous and instantly recognisable of all film directors. He told a journalist, ‘Before TV, I’d get about a dozen letters a week. Now it’s several hundred’ (in Kapsis, 1992, p. 34).

The Expressionist cinema was not the only type of German art cinema which affected Hitchcock. W. Murnau, often cited by Hitchcock as a great influence on him, is to be distinguished from Expressionism. It belongs under the heading of the Kammerspiel (literally, ‘chamber play’) film, involving the suppression of dialogue, a greatly enhanced sense of intimacy and the everyday. Technically and stylistically its great innovation was the entfesselte Kamera (the unchained camera) showcased by Murnau in The Last Laugh, where it roams freely throughout the sets and follows characters across great expanses of theatrical space.

Both Alice and Tracy are in a state of panic but while the former’s anxiety can be shown objectively in vigorous movements, Alice’s has to be read through her facial expressions and what the audience must infer through knowledge of her situation. In Strangers on a Train there is a suspenseful sequence in which the hero, a champion tennis player, has to finish his game before he can head off in pursuit of the killer. Here Hitchcock develops one of the main aspects of his suspense technique, keeping the audience suspended in narrative time, by using crosscutting.

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