By David Boyd
Alfred Hitchcock is arguably the main recognized director to have ever made a movie. virtually single-handedly he grew to become the suspense mystery into the most renowned movie genres of all time, whereas his "Psycho" up-to-date the horror movie and encouraged generations of administrators to mimic and adapt this so much Hitchcockian of flicks. but whereas a lot scholarly and well known awareness has occupied with the director's oeuvre, beforehand there was no broad research of ways Alfred Hitchcock's movies and techniques have affected and reworked the historical past of the movie medium. during this ebook, 13 unique essays by way of prime movie students display the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping effect on specific movies, filmmakers, genres, or even on movie feedback. a few essays pay attention to movies that imitate Hitchcock in various methods, together with the films of "Brian de Palma" and thrillers corresponding to "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which have been encouraged by means of Hitchcock's paintings, together with the Nineteen Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the remainder essays examine advancements inside of movie tradition and educational movie learn, together with the keenness of French New Wave filmmakers for Hitchcock's paintings, his impact at the filmic illustration of violence within the post-studio Hollywood period, and the ways that his movies became primary texts for movie theorists.
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Additional resources for After Hitchcock: Influence, Imitation, and Intertextuality
Many of the aspects of The Silence of the Lambs that may plausibly be called Hitchcockian have little to do with his reduction to the ironic icon who hosted television series and had Janet Leigh slaughtered in the shower. Nonetheless, if the paucity of references to Hitchcock in most writing about The Silence of the Lambs reflects an undernourished conception of his work, it also partly reflects a sound instinct about something essential to most of Hitchcock’s films and largely absent from Demme’s: romantic love.
By my count, at least forty-three of the fiftytwo surviving feature-length movies Hitchcock directed have love at or near their centers. The second issue, why it matters if we detect Hitchcock’s influence, can be more straightforwardly addressed. Perception of Hitchcockian resonances in the work of other directors improves our understanding not just of their films, but also of Hitchcock’s. “Influence” includes, implicitly at least, interpretations of and responses to the precedent work. It includes, in short, an embodied criticism.
Van Sant’s version of Psycho might well closely follow the form and narrative of Hitchcock’s film and also repeat a number of its contexts: same soundstage, similar shooting schedule, no advance screenings, etc. indb 26 9/27/06 3:40:12 PM for e ver hi tchcock 27 only in degree. As stated at the beginning of this essay, remaking might refer to any number of industrial and cultural practices: the remake is but a particular institutional form of the logic of repetition that is possible for all films (see Wills).