By David Boyd
Alfred Hitchcock is arguably the main well-known director to have ever made a movie. virtually single-handedly he became the suspense mystery into probably the most well known 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 flicks. but whereas a lot scholarly and well known recognition has occupied with the director's oeuvre, previously there was no broad learn of ways Alfred Hitchcock's motion pictures and strategies have affected and remodeled the historical past of the movie medium. during this ebook, 13 unique essays by way of prime movie students show the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping impression on specific movies, filmmakers, genres, or even on movie feedback. a few essays be aware of movies that imitate Hitchcock in different methods, together with the flicks of "Brian de Palma" and thrillers equivalent to "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which were inspired through Hitchcock's paintings, together with the Nineteen Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the remainder essays examine advancements inside of movie tradition and educational movie learn, together with the passion of French New Wave filmmakers for Hitchcock's paintings, his effect at the filmic illustration of violence within the post-studio Hollywood period, and the ways that his motion pictures became primary texts for movie theorists.
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Extra resources for After Hitchcock: Influence, Imitation, and Intertextuality
Insofar as they deceive the audience, their proper prey, Demme’s and Hitchcock’s cameras at such moments might be considered something like predators themselves. However that may be, images of imagery—photos, video camera images in Demme’s film, and paintings in Psycho—underscore the self-reflexivity of the cinematography in both movies and the involvement of their cameras with the desires and fears of the protagonists. Marion’s room with its family photos and wallpaper at the beginning of Psycho and the ironically flowered wallpaper that is emphasized in her room at the Bates Motel resemble the bedroom of Gumb’s first victim and the equally ironic butterflies that decorate the wallpaper of her sewing room.
Chicago Sun-Times critic Roger Ebert explains: Curious, how similar the new version is, and how different. . The movie is an invaluable experiment in the theory of cinema, because it demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots [emphasis added]. This suggestion—that an irreducible difference plays simultaneously between the most mechanical of repetitions—is best demonstrated by two earlier (and lesser-known) remakes of Hitchcock’s work: Remake (Pierre Huyghe 1995) and 24 Hour Psycho (Douglas Gordon 1993).
Gumb is identified with his victims through the same vectors. He engorges them with pupae and he seems to have shared with some of them his passion for sewing. ” When Clarice is searching that girl’s sewing room, the wallpaper there, significantly, is covered with pictures of butterflies. The dead girl also wanted to change. In her desire for selftransformation, she is like Jame Gumb, like Clarice Starling and Hannibal Lecter, like Marion Crane and Norman Bates, like humankind itself. The film of The Silence of the Lambs adapts Thomas Harris’s novel with remarkable fidelity and completeness; one might argue, therefore, that Hitchcock’s influence on the movie derives largely from whatever effect he had on the book that the movie follows.
After Hitchcock: Influence, Imitation, and Intertextuality by David Boyd