DOCSLIB.ORG

Page 1 of 4 Moma | Press | Releases | 1999 | the Museum of Modern Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Page 1 of 4 Moma | Press | Releases | 1999 | the Museum of Modern Art MoMA | press | Releases | 1999 | The Museum of Modern Art Celebrates Centennial of M... Page 1 of 4 THE MUSEUM OF MODERN ART CELEBRATES CENTENNIAL OF MASTER FILMMAKER ALFRED HITCHCOCK WITH COMPLETE FILM RETROSPECTIVE AND GALLERY EXHIBITION Most Comprehensive Film Retrospective Ever Mounted in the United States, Screening More Than Fifty Features, Shorts, and Documentaries; Gallery Exhibition of Posters, Photographs, and Papers; And Launch of Interactive Computer Program and MoMA Hitchcock Web Site Included in Four-Month Program Alfred Hitchcock April 16-June 15, 1999 The Roy and Niuta Titus Theater 1 Film Schedule available Alfred Hitchcock: Behind the Silhouette April 16-August 17, 1999 The Roy and Niuta Titus Theater 1 Lobby In celebration of the centennial of Alfred Hitchcock, The Museum of Modern Art will present four months of exhibitions devoted to the master filmmaker. From April 16 through June 15, the Museum will mount Alfred Hitchcock, the most comprehensive retrospective of Hitchcock's films ever presented in the United States, from The Blackguard (1925) to Family Plot (1976), his final feature, as well as several shorts he made for the British Government and documentary films about Hitchcock himself. Opening simultaneously with the film program and running through August 17 is Alfred Hitchcock: Behind the Silhouette, a gallery exhibition of movie posters, photographs, production designs, and documents spanning Hitchcock's life and career. The retrospective and exhibition will be accompanied by Multimedia Hitchcock, a new computer program that will be installed on interactive kiosks around the Museum, as well as the launch of a special Hitchcock subsite, accessible through the Museum's Web site. Sir Alfred Joseph Hitchcock was born in Leytonstone, five miles from the center of London, on August 13, 1899. The son of greengrocers, Hitchcock was educated in Jesuit schools and trained as an engineer specializing in mechanical drawings. He became a technical clerk in a telegraph company, and was soon transferred to its advertising department. In 1920, he shifted from writing ad copy to writing intertitles for silent motion pictures at Paramount's London studios, and over the next sixty years became perhaps the world's most famous filmmaker, his name virtually synonymous with the kind of humorously macabre suspense he created. Hitchcock was the prototypical "complete" filmmaker, not only directing his movies but also casting them; sketching out the shots before they were photographed; working with the cameramen, writers, editors, and composers; often producing; and even shaping the advertising campaigns. He directed his first film, The Pleasure Garden, in 1925, and, the following year, married his assistant director, Alma Reville, who would continue to work with him on screenplays throughout his career. On the invitation of producer David O. Selznick, Hitchcock came to the United http://www.moma.org/about_moma/press/1999/hitch_4_15_99.html 2/5/2009 MoMA | press | Releases | 1999 | The Museum of Modern Art Celebrates Centennial of M... Page 2 of 4 States in 1939 to make Rebecca. He stayed and became an American citizen in 1955. Four years after making his fifty-third feature, Family Plot, Hitchcock died in Los Angeles, on April 29, 1980. The Museum of Modern Art's relationship with Hitchcock is a long one. Iris Barry, the Museum's first film curator, met Hitchcock at the newly formed London Film Society in 1925, when she was a young critic and he an aspiring filmmaker, and his were among some of the first British films acquired for the Museum's collection. In 1939, Barry invited the celebrated filmmaker, newly arrived in the United States, to give a lecture on the art of the cinema at MoMA. In 1963 the Musuem presented the first complete Hitchcock retrospective in the United States, The Cinema of Alfred Hitchcock, which was prepared by Peter Bogdanovich, then a journalist and film historian. Perhaps more than any other filmmaker, Hitchcock has come to embody the concept of director as auteur. "In interviews Alfred Hitchcock spoke of his passion for 'pure' cinema in which movement and image provide layers of meaning at once obvious and subtle," notes Laurence Kardish, Curator and Coordinator of Film Exhibitions, Department of Film and Video, The Museum of Modern Art, who organized the film retrospective. "He may be best known as a master of suspense, but Hitchcock's mastery is far more comprehensive; it is of storytelling itself." Over the course of his long and celebrated career, Hitchcock enjoyed both critical and commercial success with films that made the director himself a star. The Museum's retrospective will survey Hitchcock's entire cinematic output, from early silent movies like The Blackguard, on which Hitchcock worked as assistant director, screenwriter, and art designer, The Lodger (1926), and Easy Virtue (1927); through the British talkie successes The 39 Steps (1935) and The Lady Vanishes (1938); to the Hollywood masterpieces Vertigo (1958), North by Northwest (1959), Psycho (1960), and others. MoMA will screen 35mm prints of all the films in the program, many in restored versions from the vaults of London's National Film and Television Archives and Universal Studios. Among the program's highlights are a tinted-and-toned restored print of The Lodger; both the silent and sound versions of Blackmail (1929), Britain's first talkie; Mary (Sir John greift ein, 1930), the little- seen, German-language version of Hitchcock's Murder (1930); a rare screening of Elstree Calling (1930), an all-star musical revue from Britain's Elstree studios, for which Hitchcock directed the non-musical bridging scenes; a new print of Rebecca (1940), the first film the director made in Hollywood; the British government projects Bon Voyage (1944), Aventure Malgache (1944), and The Memory of the Camps (1945), a documentary about the liberation of the German concentration camps on which Hitchcock was technical advisor; Michael Epstein's Hitchcock, Selznick & the End of Hollywood (1999), an illuminating look at the personal lives of and the working relationship between Hitchcock and producer David O. Selznick from Rebecca to The Paradine Case (1948); and From the Hitchcock Collection, a compilation of outtakes, behind-the- scenes footage, and home movies drawn from the Alfred Hitchcock Collection at the Academy of Motion Pictures Arts and Sciences. Gallery Exhibition Documents Hitchcock's Career With Film Posters, Rare Photographs, Drawings, And Personal Papers This retrospective of the master filmmaker's work is accompanied by Alfred Hitchcock: Behind the Silhouette, a gallery exhibition of posters, film stills, and production designs, as well as a sampling of Hitchcock's http://www.moma.org/about_moma/press/1999/hitch_4_15_99.html 2/5/2009 MoMA | press | Releases | 1999 | The Museum of Modern Art Celebrates Centennial of M... Page 3 of 4 notes and correspondence covering the entire range of the director's career. The exhibition pays tribute to the many facets of Hitchcock's persona: director, producer, showman, artist, and man of copious wit. It includes rare family photographs; telegrams and studio memos (on casting the lead role in Rebecca, for example); elaborate architectural drawings (sets for Dial M for Murder, Rope, and Strangers on a Train); storyboards (The Birds, North by Northwest, and Topaz); and letters from such favored Hitchcock actors as James Stewart, Joan Fontaine, and Grace Kelly. "By documenting all aspects of his productions, Alfred Hitchcock: Behind the Silhouette fleshes out the familiar profile of one of the twentieth century's most knowing, accomplished, and entertaining artists," says Mary Corliss, Assistant Curator, Department of Film and Video, The Museum of Modern Art, who organized the exhibition with the assistance of Jan- Christopher Horak, Director of Archives and Collections, Universal Studios, and Pat Hitchcock O'Connell. New Interactive Computer Application Offers Visitors A Wealth of Hitchcock Scholarship In conjunction with the film and gallery exhibitions, MoMA will also present Multimedia Hitchcock, an interactive program installed at several computer stations around the Museum. Developed by Dr. Robert E. Kapsis, Queens College of the City University of New York, the program features a wealth of materials from and information about Hitchcock's oeuvre. Users will be able to access audio and video clips from a number of the master's films, along with Hitchcock's own comments about his work and a wide selection of critical discussions. In addition to being a storehouse of seven decades' worth of reviews, criticism, and scholarly work on the director and his films, Multimedia Hitchcock also offers newly created and newly assembled textual and audiovisual material covering all aspects of Hitchcock's career in film and television. Special Hitchcock Subsite Featured on MoMA's Web Site The Museum will launch a special Hitchcock subsite on its own Web site (www.moma.org) to accompany the retrospective. The subsite will include introductory texts by the curators of the exhibitions, a biographical profile of the filmmaker, a 1939 lecture by Hitchcock, Peter Bogdanovich's 1963 interview with the director, a complete filmography of feature films, selected stills and storyboards, as well as a full screening schedule for the retrospective. Concurrently with MoMA's film exhibition, the Museum of Television and Radio, 25 West 52 Street, presents a complete television retrospective, including the twenty telefilms directed by Hitchcock and rarely seen interviews with the filmmaker. [Please note: Due to current restoration work on the film, The Museum will screen Hitchcock's Rear Window (1954) in late 1999.] The retrospective and exhibition are made possible by Banana Republic. The Museum acknowledges the kind support of the National Film and Television Archive, London (Anne Fleming, Curator; Bryony Dixon, Archival Bookings Officer/BFI Films), for arranging the loans of Hitchcock's pre- 1939 British films, and is grateful for the courtesy of the two companies who, between them, own the American rights to most of these: Canal+ Image International, Paris, and Carlton International Media Limited, London.
Load more

Recommended publications
  • "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.
    [Show full text]
  • 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.
    [Show full text]
  • The Blackguard
    THE BLACKGUARD GRAHAM CUTTS, GREAT BRITAIN/GERMANY, 1925 Screening: Sunday 22nd April, 9am Studios during and after the Second CAST World War – had encouraged Hitchcock to study the production methods of UFA, and, in an attempt to capitalise upon the Jane Novak ... European market, Balcon sent Cutts and Hitchcock to Berlin for the production of Prinzessin Maria The Blackguard. Cutts – the director re- Idourska / Princess Ma- sponsible for the BBFC-baiting Cocaine rie Idourska (1922) screened as part of Friday’s ‘What Walter Rilla ... The Silent Censor Saw’ presentation – had collaborated with Hitchcock on a Michael Caviol, The number of occasions. The Blackguard rep- Blackguard resents Hitchcock’s last role as art direc- Image courtesy of bfi Stills, Posters and tor, but he had previously work under Frank Stanmore ... Designs Graham Cutts in that role on four occa- Pompouard sions: Woman to Woman (1923), The White Shadow (1924), The Prude’s Fall (1924) and Bernhard Goetzke ... Graham Cutts’ 1925 film, The Black- The Passionate Adventure (1924). The Black- guard, precedes probably his most fa- guard, however, is the first instance of a Adrian Levinsky mous work, the Ivor Novello vehicle The Gainsborough film being shot abroad, and Rat, by one year, and is notable for Al- was budgeted at considerable expense for fred Hitchcock’s significant contribution the time. It was released in multilingual – he fulfilled the role of scenarist by versions, being retitled Die Prinzessin und adapting the original Raymond Paton der Geiger for the German market. novel for the silver screen, and also con- tributed his considerable talents to the Based on the 1917 Raymond Paton novel art direction of the film, while being re- of the same name, The Blackguard’s plot is sponsible for some second-unit photog- a melodrama set during the Russian Revo- raphy.
    [Show full text]
  • 53 Life and Death of Mr. Badman Sabon.Rtf
    THE LIFE AND DEATH OF MR. BADMAN, PRESENTED TO THE WORLD IN A FAMILIAR DIALOGUE BETWEEN MR. WISEMAN AND MR. ATTENTIVE. BY JOHN BUNYAN Printed by J. A. for Nath. Ponder, at the Peacock in the Poultry, near the Church, 1680. ADVERTISEMENT BY THE EDITOR. The life of Badman is a very interesting among the most degraded classes of society. description, a true and lively portraiture, of the Swearing was formerly considered to be a habit demoralized classes of the trading community of gentility; but now it betrays the blackguard, in the reign of King Charles II; a subject which even when disguised in genteel attire. Those naturally led the author to use expressions dangerous diseases which are so surely engend- familiar among such persons, but which are ered by filth and uncleanness, he calls not by now either obsolete or considered as vulgar. In Latin but by their plain English names. In every fact it is the only work proceeding from the case, the Editor has not ventured to make the prolific pen and fertile imagination of Bunyan, slightest alteration; but has reprinted the whole in which he uses terms that, in this delicate and in the author’s plain and powerful language. refined age, may give offence. So, in the The life of Badman forms a third part to the venerable translation of the holy oracles, there Pilgrim’s Progress, not a delightful pilgrimage are some objectionable expressions, which, to heaven, but, on the contrary, a wretched although formerly used in the politest company, downward journey to the infernal realms.
    [Show full text]
  • Timeline London's Hollywood: the Gainsborough
    Timeline / London’s Hollywood: The Gainsborough Studio in the Silent Years 1 Timeline London’s Hollywood: The Gainsborough Studio in the Silent Years 1919 4/1919 Formation of Famous Players Lasky British Producers Limited 7/1919 Arrival of Albert A. Kaufman (production supervisor) Arrival of Richard Murphy (scenic artist) and others 8/1919 Arrival of Eve Unsell (head of scenario) 10/1919 Purchase of lease on building to be converted into studio 11/1919 Arrival of Milton Hoffman (general manager) 1920 2/1920 Appointment of Mde Langfier in Paris to run wardrobe department 3/1920 Arrival of Adolph Zukor 4/1920 Arrival of director Hugh Ford 5/1920 Opening of the studio 5/1920 Filming of The Great Day (May-June) 5/1920 Major Bell promoted to studio manager 6/1920 Arrival of Jesse Lasky 7/1920 Major Bell to America for three months 8/1920 Appointment of Robert James Cullen as assistant director 8/1920 Filming of The Call of Youth (August - September) 9/1920 Filming exteriors of The Call of Youth in Devon 9/1920 Eve Unsell returns to America 9/1920 Arrival of Margaret Turnbull, Roswell Dague (Scenarists) & Robert MacAlarney (General Production Manager) 10/1920 Arrival of Major Bell & director Donald Crisp 10/1920 Milton Hoffman returns to America 10/1920 Major Bell appoints James Sloan (Assistant Manager) 10/1920 Filming Appearances (October - December) 10/1920 Arrival of Paul Powell 11/1920 Trade Show The Great Day Trade Show The Call of Youth 12/1920 Filming The Mystery Road (December – May) Exteriors on the Riviera (December -February) Interiors
    [Show full text]
  • Alfred Hitchcock
    Suhrkamp BasisBiographien 43 Alfred Hitchcock Bearbeitet von Thilo Wydra 1. Auflage 2010. Taschenbuch. 160 S. Paperback ISBN 978 3 518 18243 7 Format (B x L): 11,8 x 18,9 cm Gewicht: 192 g Weitere Fachgebiete > Musik, Darstellende Künste, Film > Filmwissenschaft, Fernsehen, Radio schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Suhrkamp Verlag Leseprobe Wydra, Thilo Alfred Hitchcock © Suhrkamp Verlag Suhrkamp BasisBiographien 43 978-3-518-18243-7 Suhrkamp BasisBiographie 43 Alfred Hitchcock Leben Werk Wirkung Werk Leben Thilo Wydra, 1968 in Wiesbaden geboren, studierte Kom­ paratistik, Germanistik, Kunstgeschichte und Filmwissen­ schaft in Mainz und Dijon (Burgund). Seit 1998 lebt und arbeitet er als freier Autor und Publizist (Der Tagesspie- gel, Filmecho/Filmwoche, BR-online/KinoKino u. a.) über­ wiegend in München. Seit Ende 2004 ist er Deutschland­ Korrespondent der Filmfestspiele von Cannes. Zu seinen Buchpublikationen zählen unter anderem Volker Schlön- dorff und seine Filme (München, 1998), Margarethe von Trotta – Filmen, um zu überleben (Berlin, 2000), Rosen- straße – Die Geschichte. Die Hintergründe. Die Regisseu- rin (Berlin, 2003) sowie die Suhrkamp BasisBiographie Romy Schneider (Frankfurt, 2008). Alfred Hitchcock Suhrkamp BasisBiographie von Thilo Wydra In memoriam Dezember 1993 Suhrkamp BasisBiographie 43 Erste Auflage 2010Originalausgabe © Suhrkamp Verlag Berlin 2010 Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffent- lichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile.
    [Show full text]
  • La Mort Aux Trousses
    LA MORT AUX TROUSSES North by northwest DE ALFRED HITCHCOCK FICHE TECHNIQUE lm fi USA - 1959 - 2h16 Réalisateur : che fi Alfred Hitchcock Scénario : Ernest Lehmann Montage : George Tomasini Photo : Robert Burks Musique : Bernard Herrmann Interprètes : Roger Thornhill, pris pour un espion dénommé Kaplan, est Cary Grant enlevé par deux hommes qui essaient de le tuer. Thornhill se rend au palais des Nations-Unies pour retrouver (Roger Thornhill) SYNOPSIS Townsend, qu’il croit être un de ses ravisseurs. Townsend Eva-Marie Saint est assassiné et Thornhill, pris pour le meurtrier, se sauve (Eve Kendall) à Chicago par le train. Pendant le voyage, il est séduit par James Mason Eve Kendall, qui l’aide à se cacher. Thornhill obtient un (Philip Vandamm) rendez-vous avec Kaplan dans un champ désert. Jessie Royce Landis CRITIQUE (Clara Thornhill) Leo G. Carroll Considéré par Hitchcock comme un “divertissement très amusant”, La mort aux trousses naît d’abord du désir du (Le «professeur») cinéaste de tourner une séquence sur le mont Rushmore, Philip Ober dans le Dakota du Sud (célèbre pour les figures géantes (Lester Townsend) des présidents américains sculptées à même la roche). A Josephine Hutchinson l’origine, Hitchcock voulait intituler son film, “L’Homme sur le nez de Lincoln”. Dès la première ébauche du scéna- (Mrs. Townsend) rio, le rôle est prévu pour James Stewart. Mais au fur et à Martin Landau mesure que se dessine le personnage, Hitchcock réalise (Leonard) que Cary Grant correspond mieux au personnage de Roger 1 Thornhill, personnage cynique, lant que «le réalisateur garde le contre, Thornhill ne peut qu’en- égoïste et puéril.
    [Show full text]
  • Simply-Hitchcock-1587911892. Print
    Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.
    [Show full text]
  • Hitchcock's Motifs 2005
    Repositorium für die Medienwissenschaft Michael Walker Hitchcock's Motifs 2005 https://doi.org/10.25969/mediarep/4105 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Walker, Michael: Hitchcock's Motifs. Amsterdam: Amsterdam University Press 2005 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4105. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/35146 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * pb ‘Hitchcock’ 09-09-2005 13:17 Pagina 1 Among the abundant Alfred Hitchcock litera- ture, Hitchcock’s Motifs has found a fresh angle. Starting from recurring objects, settings, char- MOTIFS MICHAEL WALKER HITCHCOCK’S acter-types and events, Michael Walker tracks FILM FILM some forty motifs, themes and clusters across the whole of Hitchcock’s work, including not CULTURE CULTURE only all his 52 extant feature films but also IN TRANSITION IN TRANSITION representative episodes from his TV series. Con- nections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this Hitchcock’sHitchcock’s unique artist’s work the depth, consistency and resonance that justifies Hitchcock’s place as probably the best known film director ever.
    [Show full text]
  • Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
    Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967.
    [Show full text]
  • The Representation of Disability in the Music of Alfred Hitchcock Films John T
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The Representation of Disability in the Music of Alfred Hitchcock Films John T. Dunn Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Dunn, John T., "The Representation of Disability in the Music of Alfred Hitchcock Films" (2016). LSU Doctoral Dissertations. 758. https://digitalcommons.lsu.edu/gradschool_dissertations/758 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE REPRESENTATION OF DISABILITY IN THE MUSIC OF ALFRED HITCHCOCK FILMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Timothy Dunn B.M., The Louisiana Scholars’ College at Northwestern State University, 1999 M.M., The University of North Texas, 2002 May 2016 Acknowledgements I would like to thank my family, especially my wife, Sara, and my parents, Tim and Elaine, for giving me the emotional, physical, and mental fortitude to become a student again after a pause of ten years. I also must acknowledge the family, friends, and colleagues who endured my crazy schedule, hours on the road, and elevated stress levels during the completion of this degree.
    [Show full text]
  • "Enhanced Filmography." Hitchcock's Appetites
    McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 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. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C.
    [Show full text]