The main finished quantity ever released on Alfred Hitchcock, masking his profession and legacy in addition to the wider cultural and highbrow contexts of his work.
Contains thirty chapters via the best Hitchcock scholars
Covers his lengthy profession, from his earliest contributions to different directors’ silent motion pictures to his final uncompleted final film
Details the long-lasting legacy he left to filmmakers and audiences alike
Read Online or Download A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors) PDF
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Additional info for A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)
He seems to have conceived such an effect purely ironically. But in Marnie (1964) there’s surely more at stake when, for example, a slum street in Baltimore does look almost beautiful in the afternoon sun. We later hear Mark Rutland (Sean Connery) misquote a passage from Emerson’s Voluntaries III. The full Emerson passage is famous for these lines: “So nigh is grandeur to our dust/So near is God to man” (Emerson 168). K. Chesterton would supply Hitchcock with similar thoughts. indd 37 2/5/2011 10:08:04 AM 38 Ken Mogg Hitchcock appears to draw on at least two famous set pieces from Madame Bovary.
There’s a matching moment in The Wrong Man, and for a time the Balestreros too are almost happy. Then Manny’s arrest and Rose’s eventual breakdown change everything. Bleakness visibly sets in. Colin McArthur invoked the Cold War in summing up The Wrong Man as “the film which perhaps best conveys the underlying unease of 50s America” (quoted in Humphries 139). indd 30 2/5/2011 10:08:03 AM Hitchcock’s Literary Sources 31 That’s a splendid point. However, what is missing from such a description of the film is the message that all is not lost.
Epstein sums up the novel: Reduced to its simplest form, The Old Curiosity Shop is a journey. … Nell begins her odyssey as a healthy young girl and slowly moves westward, toward the symbolic realm of the dead. … After suffering so long, Nell has reached a nirvana that is beyond struggle. (123) Several Hitchcock films feature potential nirvanas. ” Another is Suspicion (1941), whose glass-of-milk climax likewise echoes “Ode to a Nightingale” (by John Keats) and the poet’s desire “To cease upon the midnight with no pain” (see Mogg, “Paradox”).
A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)