By David Boyd
Alfred Hitchcock is arguably the main recognized director to have ever made a movie. nearly single-handedly he became the suspense mystery into some of 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 films. but whereas a lot scholarly and well known cognizance has serious about the director's oeuvre, earlier there was no broad learn of ways Alfred Hitchcock's motion pictures and techniques have affected and reworked the background of the movie medium. during this publication, 13 unique essays by way of major movie students exhibit the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping impression on specific motion pictures, filmmakers, genres, or even on movie feedback. a few essays be aware of motion pictures that imitate Hitchcock in different methods, together with the flicks of "Brian de Palma" and thrillers akin to "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which were prompted through Hitchcock's paintings, together with the Nineteen Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the rest essays examine advancements inside movie tradition and educational movie examine, 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 movies became critical texts for movie theorists.
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Additional info for After Hitchcock: Influence, Imitation, and Intertextuality
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3 (May–June 1984): 9 –18. Kerzoncuf, Alain. ” http. html. Accessed November 19, 2001. Kolker, Robert P. ” Horton and McDougal 34 –51. Krohn, Bill. Hitchcock at Work. London: Phaidon, 2000. McDougal, Stuart Y. ” Horton and McDougal 52 –69. Mazdon, Lucy. Encore Hollywood: Remaking French Cinema. London: British Film Institute, 2000. Milne, Tom. Rev. of Psycho II. 596 (September 1983): 245 – 46. Naremore, James. Filmguide to Psycho. Bloomington: Indiana University Press, 1973. ———. ” Hitchcock Annual (1999 –2000): 3 –12.
14 In its color cinematography—largely through its handling of red, white, and blue—The Silence of the Lambs integrates its actions of threat and predation with American motifs in a manner that finds its most specific precedent in Hitchcock’s similar treatment of those colors in North by Northwest. 15 For The Silence of the Lambs, the color of both light and objects has a similar significance. Contrasting, juxtaposing, and occasional apparent reversing of the symbolic associations of red and blue occur repeatedly throughout the film, from the blue-gray morning of its beginning to the blue-gray evening of its end.
After Hitchcock: Influence, Imitation, and Intertextuality by David Boyd