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  • 1
    Online Resource
    Online Resource
    [Erscheinungsort nicht ermittelbar] : Amsterdam University Press
    ISBN: 9789053567739
    Language: English
    Pages: 1 Online-Ressource (496 p.)
    Series Statement: Film Culture in Transition
    Keywords: Film, TV & radio ; Individual film directors, film-makers
    Abstract: Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place
    Abstract: In de overvloed aan Hitchcock-boeken, heeft Hitchcock's Motifs een nieuwe invalshoek weten te vinden. Uitgaande van terugkerende objecten, decors, karakters en gebeurtenissen heeft Michael Walker zo'n veertig motieven, thema's en clusters geïdentificeerd in het gehele oeuvre van Hitchcock. Niet alleen komen alle 52 bestaande bioscoopfilms daarbij aan bod, maar ook representatieve episodes uit zijn televisieseries. Connecties en diepere betekenissen die Hitchcockfans misschien allang voorvoelden of vermoeden, komen eindelijk in hun volle betekenis aan het licht. Ze vormen een complex web van kruisverwijzingen die het werk van deze unieke kunstenaar de diepte, samenhang en weerklank geven en Hitchcock's positie rechtvaardigen als een van de meest bekende filmregisseurs ooit. Het boek kan gebruikt worden als een mini-encyclopedie van Hitchcock motieven, maar in de individuele lemma's wordt ook volop aandacht besteed aan de bredere sociale context, de verborgen bronnen en de soms onbewuste betekenissen in het werk waarmee het duidelijk verankerd wordt in de eigen context
    Note: English
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  • 2
    Online Resource
    Online Resource
    Amsterdam : Amsterdam University Press
    ISBN: 1280958162 , 1423746295 , 9053567739 , 9048505453 , 9053567720 , 9781280958168 , 9781423746294 , 9789053567739 , 9789048505456 , 9789053567722
    Language: English
    Pages: 1 Online-Ressource (490 pages) , illustrations
    Edition: Online-Ausg.
    Series Statement: Film culture in transition
    Parallel Title: Print version Walker, Michael Hitchcock's motifs
    RVK:
    Keywords: Hitchcock, Alfred Criticism and interpretation ; Hitchcock, Alfred Criticism and interpretation ; Motion pictures Plots, themes, etc ; Motion pictures Plots, themes, etc ; Hitchcock, Alfred ; The arts ; Film, TV and radio ; Films, cinema ; Individual film directors, film-makers ; PERFORMING ARTS ; Film & Video ; Direction & Production ; PERFORMING ARTS ; Film & Video ; General ; Motion pictures ; Plots, themes, etc ; Music, Dance, Drama & Film ; Film ; Criticism, interpretation, etc ; Electronic book
    Abstract: Hitchcock's work through his recurring motifs
    Description / Table of Contents: Part I. Hitchcock, Motifs and Melodrama. Introduction -- Three motifs. Home movies -- Cigarette case/lighter -- Milk -- Melodrama and Hitchcock's motifs -- An elaborated motif: the Bed Scene in Rebecca and Marnie -- A melodramatic motif: hands -- Diagrammatic representations -- Overview of the key motifs -- Part II. The Key Motifs. BED SCENE -- Couples and beds -- Beds and the police -- BLONDES AND BRUNETTES -- CAMEO APPEARANCES -- Cameos and the police -- CHILDREN -- Children's cameos -- Family members -- Children and violence -- Children and the police -- CONFINED SPACES -- Bathrooms and washrooms -- Confinement and concealment -- Cages and bars: fears of imprisonment -- Washrooms and the police -- THE CORPSE -- The heroines -- The heroes -- The villains -- Corpses and the police -- DOGS AND CATS -- Dogs and the police -- DOUBLES -- Doubles and the police -- ENDINGS AND THE POLICE -- ENTRY THROUGH A WINDOW -- Entry through a window and the police -- EXHIBITIONISM / VOYEURISM / THE LOOK -- EXHIBITIONISM / VOYEURISM -- SPY FILMS / THE LOOK -- Exhibitionism, voyeurism and the police -- FOOD AND MEALS -- Food and marriage -- Food and sex -- Food and murder -- Food and guilt -- Chickens and eggs -- Table talk and fascism -- Food and the police -- GUILTAND CONFESSION -- Catholic overtones -- Guilt and Hitchcock's villains -- Transference of guilt -- Guilt, confession and the police -- HANDCUFFS AND BONDAGE -- HANDS -- Male hands/female hands -- Held wrists -- Damaged hands -- Holding hands -- Hands and the police -- HEIGHTS AND FALLING -- Heights, falling and the police -- HOMOSEXUALITY -- Critical positions -- Gay undercurrents -- Espionage and the look -- Ivor Novello -- Homosexuality and the police -- JEWELLERY -- Greed -- Status -- Female desire -- Female beauty/male power -- Male murderousness -- Jewellery and the police -- KEYS AND HANDBAGS -- KEYS -- Keys and handbags -- HANDBAGS -- Handbags and keys -- Keys, handbags and the police -- LIGHT(S) -- Vampires and blinding -- Murder and homosexuality -- Lights and the police -- THE MACGUFFIN -- The MacGuffin and the police -- MOTHERS AND HOUSES -- Mothers and the police -- PORTRAITS, PAINTINGS AND PAINTERS -- PORTRAITS -- PAINTINGS -- Modern art -- PAINTERS -- Portraits, paintings and the police -- PUBLIC DISTURBANCES -- Public disturbances and the police -- SPECTACLES -- Spectacles and the police -- STAIRCASES -- Hitchcockian levels -- Political variations -- Sinister staircases -- Freudian overtones -- Couples and staircases -- Staircases and the police -- TRAINS AND BOATS / PLANES AND BUSES -- TRAINS -- BOATS -- PLANES -- BUSES -- Trains and boats and the police -- WATER AND RAIN -- WATER -- RAIN -- Water and the police -- Appendix I: TV Episodes. BED SCENE -- CHILDREN -- CONFINED SPACES -- THE CORPSE -- DOUBLES -- FOOD AND MURDER / ENDINGS AND THE POLICE -- LIGHTS -- BOATS -- Appendix II: Articles on Hitchcock's motifs -- Appendix III: Definitions. Diegesis -- Point-of-view editing.
    Note: Includes bibliographical references (pages 421-429), filmography (p. 431-462) , and index , English
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