After Hitchcock : : Influence, Imitation, and Intertextuality /

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

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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 mo...

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Bibliographic Details
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
Online Access:
Physical Description:1 online resource (290 p.)
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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

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