The main entire quantity ever released on Alfred Hitchcock, overlaying his occupation and legacy in addition to the wider cultural and highbrow contexts of his paintings.
-Contains thirty chapters via the major Hitchcock scholars
-Covers his lengthy occupation, from his earliest contributions to different directors' silent motion pictures to his final uncompleted final film
-Details the long-lasting legacy he left to filmmakers and audiences alike
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Additional info for A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)
Memory in the United States is short-Â�lived, and cultural memory is no different. With every new technology that debuts, eons of earlier films, videos, and writings disappear into the mists of old technology, unreachable across the borders of phased-Â�out formats, out-Â�of-Â�print books, defunct journals. If the markers of the 1980s live on a little longer in the flowerings of the New Queer Cinema, we’re all the better for remembering. Movements of history and cinephilia demand acknowledgment.
How does this event fit into the big picture set by the big festivals? Well, it doesn’t. The identity that elsewhere becomes a badge of honor here became a straitjacket. But could “elsewhere” exist without the “here”? Amsterdam was an exercise in dialectics in action, with both pleasures 22â•… O r i g i n s , F e s t i va l s , A u d i e n c e s and dangers. For dialectics in tourism, the video maker Cecilia Dougherty and the video distributor Kate Horsfield took me on a field trip to the city’s gay monument, a tripartite structure of triangles set in stone to commemorate the genocide of homosexuals under the Nazi occupancy.
On celluloid and magnetic tape, just as in life and culture off-Â�screen, the queer present negotiates with the past, knowing full well that the queer future is at stake. Video is an even greater harbinger of that future, yet Sundance, like most film festivals, showed none. To make a point about the dearth of lesbian work in feature film and to confront the industry with its own exclusions, our “Barbed Wire Kisses” panel opened with a projected screening of Sadie Benning’s video Jollies, which brought down the house (fig.
A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)