One Shot Hitchcock
A Contemporary Approach to the Screen
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Product details:
- Publisher OUP USA
- Date of Publication 29 August 2024
- ISBN 9780197682883
- Binding Paperback
- No. of pages312 pages
- Size 226x150x22 mm
- Weight 476 g
- Language English
- Illustrations 65 b&w halftones 591
Categories
Short description:
In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.
MoreLong description:
In recent years, the enduring appeal of Alfred Hitchcock to film studies has been evidenced by the proliferation of innovative approaches to the director's work. Adding to this pattern of innovation, the edited collection One Shot Hitchcock: A Contemporary Approach to the Screen utilizes formal analysis to interrogate key single shots from across Alfred Hitchcock's long career. This collection reveals the value of analyzing the single shot - within this small, cinematic unit is a code that unlocks a series of revelations about cinema as an artistic practice and a theoretical study. Each chapter examines one shot from a single film, beginning with The Lodger (1927) and ending with Frenzy (1972).
If Hitchcock is known as a director of suspense films and films about murder, the shots discussed in One Shot Hitchcock are his crime scenes. These are the shots that resist being forgotten, that repeatedly demand to be investigated, in which Hitchcock's influence on aesthetics and culture is at its most acute. Each chapter uses a different lens of film analysis - transnationalism, gender and sexuality, performance, history, affect, intermediality, remake studies, philosophy, and film form are all used to interrogate single shots. In these essays, the single shot from Hitchcock's film not only illustrates the approach in question but also demonstrates how the single shot encourages us to rethink our approaches to the screen. By reinvigorating a close formal mode of analysis, One Shot Hitchcock asks readers to think differently about film, offering a renewed assessment of Hitchcock's oeuvre in the process.
"This excellent and compelling collection of essays, all of which center on singular and iconic moments in Hitchcock's oeuvre, provides an innovative approach to reading images embedded in our cultural consciousness. Once again, the complexity and brilliance of Hitchcock's filmic mind is made apparent, but this book does not shy away from discussing difficult and controversial issues with regard to our love for this 'master' of cinematic form."
Table of Contents:
1. One Shot: Hitchcock's Crime Scenes
Luke Robinson and Melanie Robson
2. The Lodger (1927): Contaminating British silent cinema
Sebastian Smoliński
3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink
Tom Gunning
4. Sabotage (1936): A thriller and its aftereffects
Helen Hughes
5. Rebecca (1940): The impure object of vision
Bruce Isaacs
6. Shadow of a Doubt (1943): Performing a murder(er)
Melanie Robson
7. Aventure Malgache (1944): French colonial tensions
Charles Barr
8. Rope (1948): Chromatic design and neon light
Sarah Street
9. Rear Window (1954): Intermedialities of peeping in the plural
Martin P. Rossouw
10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth
Susana Viegas
11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood
Megan Carrigy
12. The Wrong Man (1956): Towards singularity
Noa Steimatsky
13. Vertigo (1958): Labor in a single shot
Domietta Torlasco
14. The Birds (1963): Trauma and the right of reply
Julian Murphet
15. Marnie (1964): Restroom
Jodi Brooks
16. Frenzy (1972): Pulling focus between a woman's face and a face of death
Luke Robinson
Index
