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Joerg Fingerhut

of expansionism in these passages can be read as instances of such expansive seeing-in (or can be related to a version thereof). He discusses camera and lens effects in films, epitomized in the famous uses of “contrazoom” in Vertigo (Hitchcock, 1958

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Carl Plantinga

Film scholars, critics, filmmakers, and audiences all routinely employ intuitive, untutored "folk psychology" in viewing, interpreting, critiquing, and making films. Yet this folk psychology receives little attention in film scholarship. This article argues that film scholars ought to pay far more attention to the nature and uses of folk psychology. Turning to critical work on Alfred Hitchcock's Psycho, the article demonstrates the diverse and sometimes surprising ways that folk psychology is used in criticism. From an evolutionary perspective, the article defends the critic's and audience's interests in characters as persons. It also defends folk psychology against some of its most vocal detractors, and provides some guidance into how cognitive film theorists might employ folk psychology, arguing that such employment must supplement and correct folk psychology with scientific psychology and philosophical analysis. Finally, the article argues that the application of folk psychology to films is a talent, a skill, and a sensitivity rather than a science.

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David Coleman, Tico Romao, Cedric Villamin, Scott Sinnett, Tanya Jakobsen and Alan Kingstone

This article summarizes an evidence-based study that adapts a breakpoint approach to investigate how elements of television narratives (two half-hour episodes of Alfred Hitchcock Presents: “Lamb to the Slaughter” and “The Case of Mr. Pelham”) were considered meaningful to viewers. Actions considered meaningful were found to be high in informational and emotional content, and primarily consisted of plot points where changes in narrative direction and protagonist's goals were perceived as interpretively salient. Viewers also registered as meaningful those scenes that were character centered and provided subjective access to the main characters. The article reviews segmentation behavior in the relevant film theory literature to contextualize study, and concludes by summarizing other potential applications of an adapted breakpoint approach beyond the investigation of dramatic structure.

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott and Kristen Sollée

, and desire. Marc Raymond Strauss. Hitchcock’s Objects as Subjects: The Significance of Things on Screen . (Jefferson, NC: McFarland, 2016), 204 pp. ISBN 978-0-7864-4308-6 (paperback, $35). Reviewed by Shannon Scott , University of St. Thomas Hats

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston and Kristof van Baarle

. Jan Olsson, Hitchcock à la Carte (Durham, NC: Duke University Press, 2015), 272 pp. + 55 illustrations. ISBN 978-0-8223-5804-6 (paperback, $24.95), 978-0-8223-5790-2 (hardback, $89.95). Reviewed by Antonio Sanna , Independent Researcher Jan Olsson

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Stacie Friend

scene of Alfred Hitchcock’s Saboteur (1942), in which the villain Fry (Norman Lloyd) dangles precariously from the top of the Statue of Liberty: “Hitchcock peppers the sequence with close-ups of the saboteur’s expressions of pain and terror—shots that

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Henry Skirball

, Bar Ilan University. 10 In Alfred Hitchcock’s ‘The Man Who Knew Too Much’, 1956, Doris Day sings, ‘Que sera sera, / Whatever will be will be. / The future’s not ours to see.’ Lyrics by Jay Livingston. 11 Amos 7:14. 12 B Baba Batra 12b.

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Steven Eastwood

distance wrong on a regular basis. Inference, Intentionality, Erroneous Belief Sometimes reasoning (incorrectly) can motivate character behavior through the whole of a film. Per Persson (2003) cites Hitchcock’s North by Northwest (1959), a tale of

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Editorial

Screening Vulnerability

Brian Bergen-Aurand

includes reviews covering women’s pornography in post-digital China and rewriting the sexual in women’s pornography, queer nostalgia, female film stardom, affect and queer sociality, and Alfred Hitchcock’s things on screens. * * * It is with much sadness

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Paul Taberham and Kaitlin Brunick

that denote the commercial movie experience. From the vantage point of this reviewer, appealing to classical American auteurs (Hitchcock and Wyler) and critically acclaimed TV series like The Twilight Zone (1959–1964) seems unremarkable, but then I