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 essentially 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 films. but whereas a lot scholarly and renowned awareness has serious about the director's oeuvre, in the past there was no wide examine of the way Alfred Hitchcock's movies and strategies have affected and remodeled the background of the movie medium. during this booklet, 13 unique essays via top movie students exhibit the richness and diversity of Alfred Hitchcock's legacy as they hint his shaping impact on specific movies, filmmakers, genres, or even on movie feedback. a few essays be aware of movies that imitate Hitchcock in varied methods, together with the films of "Brian de Palma" and thrillers resembling "True Lies", "The Silence of the Lambs", and "Dead Again". different essays examine genres which were prompted by means of Hitchcock's paintings, together with the Seventies paranoid mystery, the Italian giallo movie, and the post-"Psycho" horror movie. the remainder essays examine advancements inside movie tradition and educational movie research, together with the keenness of French New Wave filmmakers for Hitchcock's paintings, his impression at the filmic illustration of violence within the post-studio Hollywood period, and the ways that his motion pictures became relevant texts for movie theorists.
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Extra info 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.
Jack’s endeavor to replace some of the film’s sound effects—the scream, but also eerie wind sounds—leads him to a secluded spot where he witnesses an “accident” in which a presidential candidate is drowned when his car plunges from a bridge (this sequence thus remakes, too, the Edward Kennedy Chappaquiddick incident of 1969). Jack rescues a female passenger, Sally Badina (Nancy Allen), from the water but she is later murdered while helping Jack attempt to unravel the conspiracy surrounding the candidate’s death.
The Complete Hitchcock. London: Virgin, 1999. Druxman, Michael B. Make it Again, Sam: A Survey of Movie Remakes. Cranbury, New Jersey: A. S. Barnes, 1975. Ebert, Roger. Rev. of Psycho (1998). com. Accessed November 19, 2001. indb 28 9/27/06 3:40:13 PM for e ver hi tchcock 29 Frow, John. Rev. of Play It Again, Sam, by Horton and McDougal. htm. Accessed November 19, 2001. “Gus Van Sant vs. ” Hitchcock Annual (2001– 02): 125 –58. Hoberman, J. Rev. of Dressed to Kill. Village Voice (22 –29 July 1980): 42, 44.