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      • In one of Alfred Hitchcock’s earlier films, Rear Window, he investigated the voyeuristic nature of cinema from the perspective of an audience member. In Vertigo, Hitchcock returns to his meta investigation of film, but from the perspective of the director.
      www.studiobinder.com/blog/vertigo-movie-explained/
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  2. Feb 19, 2017 · The implicit spectator in Vertigo. Mulvey describes Hitchcock in relation to “the investigative side of voyeurism” (14); Jason, in lecture, explained this as the way in which Hitchcock complicates the straightforward and unquestioned voyeurism that is featured in other Golden Era Hollywood films.

    • Henrike Scholz
  3. Aug 22, 2021 · In one of Alfred Hitchcock’s earlier films, Rear Window, he investigated the voyeuristic nature of cinema from the perspective of an audience member. In Vertigo , Hitchcock returns to his meta investigation of film, but from the perspective of the director.

  4. Mar 4, 2024 · In Vertigo (1958), especially, Hitchcock makes his viewers complicit, not just as parallel voyeurs but also, as indulgent in Scottie’s need to see the face of death without dying.

  5. Oct 30, 2019 · Voyeurism, and the visual pleasure that is associated with it, is unambiguously portrayed throughout Alfred Hitchcock’s Vertigo, as well as through the act of watching the film. Male creators ...

    • Brittany Beheshti
  6. In the fall of 1962, whilst The Birds was in post-production, François Truffaut carried out extensive interviews with Alfred Hitchcock at his offices at Universal Studios. The interviews were recorded to audio tape and the content eventually edited down into the ‘Hitchcock/Truffaut’ book.

  7. Oct 6, 2024 · With Hitchcock being seen as the author of the film, the dissection of Vertigo's ending also became a dissection of Hitchcock himself. Was this about his lust for actresses, his peeping ways? Or was it about career anxiety and the fear audiences would see his true self and love him less?

  8. Mar 8, 2018 · However, long before 1957, when Hitchcock made Vertigo, his virtual immunity from criticism had dissipated. A picture in familiar Hitchcock style brought accusations of producing “the same old stuff,” but with any deviation, the same cynics advised him that “the shoemaker should stick to his last.”