Something Rotten in Alfred Hitchcock's Frenzy
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LYNNE MACEDO Auteur and Author: a Comparison of the Works of Alfred Hitchcock and VS Naipaul
EnterText 1.3 LYNNE MACEDO Auteur and Author: A Comparison of the Works of Alfred Hitchcock and V. S. Naipaul At first glance, the subjects under scrutiny may appear to have little in common with each other. A great deal has been written separately about the works of both Alfred Hitchcock and V. S. Naipaul, but the objective of this article is to show how numerous parallels can be drawn between many of the recurrent ideas and issues that occur within their respective works. Whilst Naipaul refers to the cinema in many of his novels and short stories, his most sustained usage of the filmic medium is to be found in the 1971 work In a Free State. In this particular book, the films to which Naipaul makes repeated, explicit reference are primarily those of the film director Alfred Hitchcock. Furthermore, a detailed textual analysis shows that similarities exist between the thematic preoccupations that have informed the output of both men throughout much of their lengthy careers. As this article will demonstrate, the decision to contrast the works of these two men has, therefore, been far from arbitrary. Naipaul’s attraction to the world of cinema can be traced back to his childhood in Trinidad, an island where Hollywood films remained the predominant viewing fare throughout most of his formative years.1 The writer’s own comments in the “Trinidad” section of The Middle Passage bear this out: “Nearly all the films shown, apart from those in the first-run cinemas, are American and old. Favourites were shown again and Lynne Macedo: Alfred Hitchcock and V. -
"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M. -
Hitchcock's Appetites
McKittrick, Casey. "The pleasures and pangs of Hitchcockian consumption." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 65–99. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781501311642.0007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 16:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 The pleasures and pangs of Hitchcockian consumption People say, “ Why don ’ t you make more costume pictures? ” Nobody in a costume picture ever goes to the toilet. That means, it ’ s not possible to get any detail into it. People say, “ Why don ’ t you make a western? ” My answer is, I don ’ t know how much a loaf of bread costs in a western. I ’ ve never seen anybody buy chaps or being measured or buying a 10 gallon hat. This is sometimes where the drama comes from for me. 1 y 1942, Hitchcock had acquired his legendary moniker the “ Master of BSuspense. ” The nickname proved more accurate and durable than the title David O. Selznick had tried to confer on him— “ the Master of Melodrama ” — a year earlier, after Rebecca ’ s release. In a fi fty-four-feature career, he deviated only occasionally from his tried and true suspense fi lm, with the exceptions of his early British assignments, the horror fi lms Psycho and The Birds , the splendid, darkly comic The Trouble with Harry , and the romantic comedy Mr. -
Notions of the Gothic in the Films of Alfred Hitchcock. CLARK, Dawn Karen
Notions of the Gothic in the films of Alfred Hitchcock. CLARK, Dawn Karen. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19471/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version CLARK, Dawn Karen. (2004). Notions of the Gothic in the films of Alfred Hitchcock. Masters, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10694352 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694352 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Notions of the Gothic in the Films of Alfred Hitchcock Dawn Karen Clark A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy July 2004 Abstract The films of Alfred Hitchcock were made within the confines of the commercial film industries in Britain and the USA and related to popular cultural traditions such as the thriller and the spy story. -
View Films of Alfred Hitchcock. Syllabus
RTF 370 Film Analysis and Criticism Topic: The Films of Alfred Hitchcock (Spring 2021) Professor: Thomas Schatz (CMA 6.120; [email protected]) Office hours: Monday and Wednesday, 3:30 - 5:00 pm, and by appointment. Teaching Assistant: Alex Brannan ([email protected]) Office hours: Tuesday, 12:00 - 1:30pm and by appointment The general plan for the class in the time of COVID: This is a “hybrid” course that initially is being conducted online (via Zoom) and in a “synchronous” mode – that is, with our class meetings held at the scheduled time (TTH, 9:30 - 10:45). We may convert to in-person class meetings later in the term, should the COVID situation improve and permit that much-desired adjustment. During this online phase, I expect you to attend (with your cameras on, please) and to participate. I will record our sessions for back-up purposes, but please plan to approach this as you would a regular on-campus UT class in terms of attendance and participation. All of the weekly screenings – both the required and recommended screenings – are available to you online. I also will be posting clips that I plan to use in class, which I will encourage you to screen before our class sessions. I’m also expecting you to conduct research for your final paper online, recognizing the obvious constraints due to the coronavirus. We will discuss research strategies throughout the semester, and especially during the latter half of the term. Course description: This course examines the career of Alfred Hitchcock, focusing on the films that he directed as well as the social, cultural and industrial conditions under which those films were produced. -
Print This Article
Strangers No More: The Initial Hitchcock Murder Vlad DIMA Union College, [email protected] Special Issue: 1 (2011) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2011.1 | http://cinej.pitt.edu Abstract This article analyzes the various levels of violence and graphic detail in the initial Hitchcock murder scenes. Through a detailed close reading of these scenes from Blackmail, Strangers on a Train, and Frenzy, I expose the different and increasing levels of intensity at which sadism functions throughout Hitchcock’s career, and I suggest that the audience is stuck at a one-stage sadistic level as opposed to the typical Freudian model. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Strangers no More: The Initial Hitchcock Murder If we compare murder scenes from distinct periods in Alfred Hitchcock’s oeuvre, we find a sharp gradation in the intensity of visual depiction from the first talkie, Blackmail (1929), to Strangers on a Train (1951), and to his penultimate film, Frenzy (1972), which essentially marks the end of the director’s career.1 We go from a long shot of curtains that hide the murder in the first film, to a paradoxical close-up of glasses with a small vignette reflection of the murder in the second, and we end with close-ups of the actual people, both the victim and the aggressor, in the third film. -
Sleuth by Anthony Shaffer Directed by Michael Evan Haney
2009—2010 SEASON SLEUTH by Anthony Shaffer Directed by Michael Evan Haney CONTENTS 2 The 411 3 A/S/L & RMAI 4 FYI 5 HTH 6 F2F 7 B4U 10 IRL 11 RBTL 12 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves fast— Stay Connected at The Rep okay, really fast. 10. TBA Ushers will seat your school or class as a group, But we also know so even if you are dying to mingle with the group from the that some things all girls school that just walked in the door, stick with your are worth slowing friends until you have been shown your section in the theatre. down for. We believe that live theatre is one of those pit stops worth making and are excited that you are 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- going to stop by for a show. To help you get the most bang immature urge to whisper, giggle like a grade schooler or yell for your buck, we have put together WU? @ THE REP—an at this time and during any other blackouts in the show. IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. You’ll find 8. SED Before the performance begins, turn off all cell character descriptions (A/S/L), a plot summary (FYI), phones, pagers, beepers and watch alarms. If you need to biographical information (F2F), historical context (B4U), text, talk or dial back during intermission, please make sure and other bits and pieces (HTH). -
Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation Submitt
The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Social, Political, Ethical, and Cultural Thought Emily M. Satterwhite, Co-Chair David P. Cline, Co-Chair Marian B. Mollin Scott G. Nelson February 13, 2018 Blacksburg, Virginia Keywords: Gone with the Wind, Mass Media and History, US South, Slavery, Civil War, Reconstruction, African American History, Memory, Race Relations, Whiteness, Nationalism, Tourism, Audiences Copyright: Taulby H. Edmondson 2018 The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson ABSTRACT Published in 1936, Margaret Mitchell’s Gone with the Wind achieved massive literary success before being adapted into a motion picture of the same name in 1939. The novel and film have amassed numerous accolades, inspired frequent reissues, and sustained mass popularity. This dissertation analyzes evidence of audience reception in order to assess the effects of Gone with the Wind’s version of Lost Cause collective memory on the construction of the Old South, Civil War, and Lost Cause in the American imagination from 1936 to 2016. By utilizing the concept of prosthetic memory in conjunction with older, still-existing forms of collective cultural memory, Gone with the Wind is framed as a newly theorized mass cultural phenomenon that perpetuates Lost Cause historical narratives by reaching those who not only identify closely with it, but also by informing what nonidentifying consumers seeking historical authenticity think about the Old South and Civil War. -
Introduction to One of These Episodes, Hitchcock Informs the Audi- Ence That the Music Is Written Fi Rst, Then the Images and Story Are Found to Fi T It
1 I n t r o d u c t i o n K . J . D o n n e l l y a n d S t e v e n R a w l e or a decade from 1955, Alfred Hitchcock worked almost exclusively with F one composer: Bernard Herrmann. From Th e Trouble with Harry (1955) to the bitter spat surrounding Torn Curtain (1966), the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fi elds. Consequently, fascina- tion with their work and relationship endures fi ft y years later. Th is book brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring chapters by leading scholars of Hitchcock’s work, the volume examines the working relationship between the two and the contribu- tion that Herrmann’s work brings to Hitchcock’s idiom, as well as expanding our understanding of how music fi ts into that body of work. Th e goal of these analyses is to explore approaches to sound, music, collaborative authorship and the dis- tinctive contribution that Herrmann brought to Hitchcock’s fi lms. Consequently, the book examines these key works, with particular focus on what Elisabeth Weis ( 1982 : 136) called ‘the extrasubjective fi lms’ – Vertigo (1958), Psycho (1960), Th e Birds (1963) – and explores Herrmann’s palpable role in shaping the sonic and musical landscape of Hitchcock’s work, which, the volume argues, has a consider- able transformative eff ect on how we understand Hitchcock’s authorship. -
Hitchcock & the Presence of Portraits
Hitchcock & the Presence of Portraits Presented by Clara Fulkerson Undergraduate Philosophy Major Minors: Film and French What is an “auteur”? ➢ A term in film theory to describe “authorship” ➢ Much like the originality expressed by authors of literature, the style, content, and themes in film can be recognizably unique to one filmmaker ○ Like the creative distinctions between Mark Twain and Charles Dickens Examples of auteurs: Quentin Tarantino “Kill Bill Vol. 1” (2003) “Pulp Fiction” (1994) “Reservoir Dogs” (1992) Tim Burton “Edward Scissorhands” (1990) “Alice in Wonderland” (2010) “Sweeney Todd” (2007) Wes Anderson “The Life Aquatic” (2004) “Moonrise Kingdom” (2012) “The Darjeeling Limited” (2007) ➢ Hitchcock, perhaps unknowingly most of his career, was a pioneer of auteurism, with stylistic repetitions across his filmography. ➢ Notable tropes are plot narratives (espionage), suspenseful tones (Bernard Herrmann, scene pacing), psychological themes (phobias, fetishes), and Hitchcock cameos. German Expressionism “The Lodger” (1927) “These enigmatic images in Hitchcock’s films–– Spellbound’s savaged eyes, Blackmail’s jester, The Trouble with Harry’s portrait of a dead man, Torn Curtain’s silent museum architecture and artifacts, and I Confess’s guilt-inducing courtroom Christ–– function like omniscient observers, staring eyes, as it were, dispassionately framing the action, gazing on it and at us while provoking our own individual reactions and interpretations” - Marc Strauss Painted Jester: Notes on the Visual Arts in Hitchcock’s Films -
A Score Complete Without Themes: Henry Mancini and the Frenzy Experience
A SCORE COMPLETE WITHOUT THEMES: HENRY MANCINI AND THE FRENZY EXPERIENCE. PATRICIA CLARE WHEELER-CONDON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY, TORONTO, ONTARIO APRIL, 2013 © Patricia Wheeler-Condon, 2013 ABSTRACT This dissertation examines the musical features of, and circumstances surrounding, the film score composed in 1971 by Henry Mancini for director Alfred Hitchcock's ( penultimate work, Frenzy. Mancini's music was rejected by Hitchcock, and replaced with a markedly different work written by British composer Ron Goodwin. A summation of characteristic traits emerging from Mancini's compositional style is herewith considered, as recurring features found in his thematic writing - aspects of melody, harmony, rhythm, timbre, and form-were most apparent to the non-musician film directors who engaged his services. This summation also includes an examination oft4e composer's dramatic underscore writing; an aspect of film music often overlooked in its minutiae by viewers and filmmakers alike, and, in the case of Mancini's Frenzy music, characteristic of his scores for Laslo Bene_dek's 1971 production, The Night Visitor, and Terrence Young's Wait Until Dark, from 1967. Mancini's Frenzy cue sheets, holograph, and recording were supplied by the composer's estate, allowing for an analysis which considers cue placement and length, systems of pitch and rhythmic organisation, aspects of arrangement and orchestration, and conducting and recording methods as practised by this composer. A comparison to the Goodwin score, reproduced by way of transcription from the film, is undertaken in order to explore aspects of filmic point-of-view as they play on the composer of its accompanying music, and to attempt a rationalisation of .Hitchcock's displeasure with Mancini's music. -
Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho
Filmguide. to Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho JAMES NAREMORE INDIANA UNIVERSITY PRESS Bloomington London Copyright© 1973 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition. Published in Canada by Fitzhenry & Whiteside Limited, Don Mills, Ontario Library of Congress catalog card number: 72-88636 ISBN: 0-253-39307-8 cl. 0-253-39308-6 pa. Manufactured in. the United States of America 2 3 4 5 6 80 79 78 77 76 For Jay, who likes horror movies I would like to thank Harry Geduld and Ron Gottesman for giving me this opportunity. My thanks also to Murray Sperber and Charles Eckert, who spent hours talking with me about Psycho. J,N, contents 1 Credits 3 2 Outline 5 3 Aesthetics of Repression 9 4 The Production 19 5 Analysis 25 6 Summary Critique 72 A Hitchcock Filmography 81 Selected Bibliography 83 Rental Sources 87 vii -- Filmguide to Psycho ---- 1 . credits PSYCHO Paramount Pictures, 1960 Producer: Alfred Hitchcock Direction Alfred Hitchcock Screenplay Joseph Stephano, from the novel by Robert Bloch Photography John L. Russell, A.s.c. Special EfJects Clarence Champagne Art Direction Joseph Hurley, Robert Clatworthy Sets George Milo Music Bernard Herrmann Sound Engineering Waldon Watson, William Russell Title Design Saul Bass Editing George Tomasini Assistant Director Hilton Green Costumes Helen Colvig Time 109 minutes Filmed in Hollywood, partly on the lots of the old Universal Stu dios.