By Nicholas Haeffner
A accomplished creation to Alfred Hitchcock?s significant British and Hollywood movies, which navigates the reader throughout the wealth of serious commentaries.Locates the director?s impressive physique of labor inside traditions of intellectual, middlebrow and lowbrow tradition, and their attract types of viewers the writer explores Hitchcock?s mastery of the technical potential used to construct and preserve suspense. Examines a mode which constantly featured, homicide, espionage, deception, incorrect identities, chase sequences, wry touches of humor and low intrusion of the macabre in a number of mixtures
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A accomplished advent to Alfred Hitchcock? s significant British and Hollywood movies, which navigates the reader during the wealth of severe commentaries. Locates the director? s impressive physique of labor inside traditions of intellectual, middlebrow and lowbrow tradition, and their attract kinds of viewers the writer explores Hitchcock?
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Extra resources for Alfred Hitchcock
In the second, the camera begins a slow descent from the top of an imposing staircase in a grand house where a party is in progress, travels downwards until it comes to rest on an extreme close-up of a key clutched tightly in a hand. The long and slow crane shot down the grand staircase and right to the front door in Marnie is a deliberate echo of the one in Notorious. Both shots perform similar narrative functions, that is to disclose something in the middle of a bustling house party which will prove a threat to the heroine.
Obviously, it made business sense, for by extending the class appeal of movies Hitchcock maximised his audience and his box-office takings. Like Griffith, Hitchcock aimed for a fusion of the pictorial and spectacular with established literary source material. In a 1950 interview, Hitchcock cited John Buchan, John Galsworthy and Mrs Belloc Lowndes, popular and respected middlebrow writers, as important formative influences (Gottlieb, 1997, p. 131). Buchan was a Scottish mystery and adventure writer, whose 1915 novel The ThirtyNine Steps was filmed by Hitchcock with great success in 1935.
At the climax of Blackmail, Hitchcock shows us the flight of the blackmailer, Tracy, pursued by the police, through the London streets and into the British museum. The footage of the chase is crosscut with shots of Alice sitting at home, completely distraught, yet almost motionless as she wrestles with her conscience over whether to turn herself in to the police and confess to murder. 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.
Alfred Hitchcock by Nicholas Haeffner