By Hitchcock, Alfred; Skerry, Philip J.; Hitchcock, Alfred

ISBN-10: 1441184015

ISBN-13: 9781441184016

ISBN-10: 1441189459

ISBN-13: 9781441189455

ISBN-10: 1623564212

ISBN-13: 9781623564216

Alfred Hitchcock and the cinema grew up jointly. Born in 1899, 4 years after the 1st ‘official' movie exhibiting in Paris, Hitchcock established an early fascination with the hot paintings of the cinema. He entered the movie in 1920, and by means of 1925, he had directed his first feature-length film, The excitement Garden. His next movie profession paralleled the outstanding progress of the movie throughout the years 1925-1976, the yr of his final movie. within the comparable approach, Hitchcock's motion pictures are consonant with the innovative theories within the fields of physics and cosmology that have been reworking the 20th century, personified by way of the genius of Albert Einstein.

Philip Skerry's ebook applies the theories of darkish strength, entropy, black holes, and quantum mechanics to Hitchcock's technological genius and digicam aesthetics, assisting to give an explanation for the concept that of ‘pure cinema' and offering verification for its outstanding energy. together with interviews with influential physicists, this examine opens up new methods of studying Hitchcock's art.

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Extra info for Dark energy : Hitchcock's absolute camera and the physics of cinematic spacetime

Sample text

The essential functions of a camera, printer and projector remain unchanged from those of the 1890s. The optical precision of photographic lenses available has been developed and improved, as has the accuracy of film transport mechanisms and the mechanical stress exerted on the film in motion. The designs of shutters have improved to maximise the amount of light exposure during photography and projection, as has the quality and versatility of the film duplication process. 17 The denominator D in my equation now comes into play with Hitchcock’s birth in 1899.

In terms of film scholarship and criticism, the relationship presents a conundrum. If we speak, for example, of a “Hitchcock film,” do we mean the same thing as “a Rembrandt painting,” or “a Hemingway novel”? Because film is a collaborative medium, can a film director be considered an “auteur”? In answering these questions, critics have placed themselves on a continuum, ranging from the auteurism of the French critics and their American champion Andrew Sarris to the studio system emphasis of Thomas Schatz, whose description of the studio system in The Genius of the System is the best that I know of.

I began to study the scenario as we went along, and I saw that there were weaknesses in it. ”9 A major contrast between Einstein and Hitchcock, though, is the process that follows the visual thinking; that is where the studio/laboratory comes in. Being a theoretical physicist, Einstein didn’t conduct his own experiments. 10 With Hitchcock, however, the creative process was not purely theoretical; pure cinema had to be captured on film, via a camera and by a studio. In the case of Rear Window, that studio was Paramount Pictures.

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Dark energy : Hitchcock's absolute camera and the physics of cinematic spacetime by Hitchcock, Alfred; Skerry, Philip J.; Hitchcock, Alfred


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