After Hitchcock : : Influence, Imitation, and Intertextuality / / ed. by R. Barton Palmer, David Boyd.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013
• MitwirkendeR: Acevedo-Muñoz, Ernesto R.,; Belton, John,; Boyd, David,; Brill, Lesley,; Hark, Ina Rae,; Knee, Adam,; Leitch, Thomas M.,; Met, Philippe,; Metz, Walter,; Neupert, Richard,; Palmer, R. Barton,; Sklar, Robert,; Tomasulo, Frank P.,; Verevis, Constantine,
• HerausgeberIn: Boyd, David,; Palmer, R. Barton,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2006
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (290 p.)

Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director's oeuvre, until now there has been no extensive study of how Alfred Hitchcock's films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock's legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock's work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock's work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.

Table of Contents

Frontmatter -- Contents -- Introduction -- PART I: PSYCHO RECYCLED -- For Ever Hitchcock Psycho and Its Remakes -- Hitchcockian Silence Psycho and Jonathan Demme’s The Silence of the Lambs -- PART II: THE RETURN OF THE REPRESSED -- Shadows of Shadow of a Doubt -- Psycho or Psychic? Hitchcock, Dead Again, and the Paranormal -- PART III: THE POLITICS OF INTERTEXTUALITY -- The Hitchcock Romance and the ’70s Paranoid Thriller -- Exposing the Lies of Hitchcock’s Truth -- PART IV: FOUND IN TRANSLATION -- Red Blood on White Bread: Hitchcock, Chabrol, and French Cinema -- “You’re Tellin’ Me You Didn’t See” Hitchcock’s Rear Window and Antonioni’s Blow-Up -- Melo-Thriller Hitchcock, Genre, and Nationalism in Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown -- “Knowing Too Much” about Hitchcock The Genesis of the Italian Giallo -- PART V: THEORETICALLY HITCHCOCKIAN -- Death at Work Hitchcock’s Violence and Spectator Identification -- Hitchcock and the Classical Paradigm -- PART VI: MODUS OPERANDI -- How to Steal from Hitchcock -- Notes on Contributors -- Index