Download After Hitchcock: Influence, Imitation, and Intertextuality by David Boyd PDF

By David Boyd

ISBN-10: 029271338X

ISBN-13: 9780292713383

Alfred Hitchcock is arguably the main recognized director to have ever made a movie. virtually single-handedly he became 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 such a lot Hitchcockian of flicks. but whereas a lot scholarly and renowned recognition has considering the director's oeuvre, in the past there was no broad examine of ways Alfred Hitchcock's movies and strategies have affected and reworked the heritage of the movie medium. during this ebook, 13 unique essays through best movie students demonstrate the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping impression on specific movies, filmmakers, genres, or even on movie feedback. a few essays be aware of movies that imitate Hitchcock in various methods, together with the films of "Brian de Palma" and thrillers comparable to "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which were encouraged through Hitchcock's paintings, together with the Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the rest essays examine advancements inside of movie tradition and educational movie research, together with the passion 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 motion pictures became important texts for movie theorists.

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Extra resources for After Hitchcock: Influence, Imitation, and Intertextuality

Example text

Such imagery in each tends to be associated with threatened or victimized women: Marion Crane “eat[s] like a bird” while surrounded by Norman’s stuffed fowl and prints of captive women; the names of Clarice Starling and Catherine Martin emphasize their connection with birds, and Lecter directs Clarice, “You fly back to school now, little starling. ” At the home of Gumb’s first victim, as Jhan Hochman notes, “several duck replicas ‘walk’ in the front yard, a thriving bird hotel stands on a pole out back, and a little wooden, wind-blown Indian paddles his canoe in full feathered headdress.

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. For that reason, as T. S. indb 32 9/27/06 3:40:14 PM hi tchcockian SILENCE 33 To the case in point: where is Hitchcock in The Silence of the Lambs?

At the home of Gumb’s first victim, as Jhan Hochman notes, “several duck replicas ‘walk’ in the front yard, a thriving bird hotel stands on a pole out back, and a little wooden, wind-blown Indian paddles his canoe in full feathered headdress. ” 8 Neither in Psycho nor in The Silence of the Lambs, however, do birds serve exclusively as victims. They can be predators as well as prey, and some are both. The baleful owl duplicated from Psycho in Lecter’s “Your Self-Storage” has its wings outstretched, as if swooping to attack.

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