The films of Alfred Hitchcock / David Sterritt.
Material type:
TextSeries: Cambridge film classicsPublication details: Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1993.Description: vii, 165 p. : ill. ; 24 cmISBN: - 0521391334
- 0521398142 (pbk.)
- 791.430233092
- PN 1998.3 S839f 1993
| Item type | Current library | Home library | Collection | Shelving location | Call number | Vol info | Copy number | Status | Barcode | |
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Biblioteca Juan Bosch | Biblioteca Juan Bosch | Humanidades | Humanidades (4to. Piso) | PN 1998.3 S839f 1993 (Browse shelf(Opens below)) | 1 | 1 | Available | 00000095689 |
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| PN1998.3.S76 M833o 2008 Oliver Stone / | PN 1998.3 S765a 1976 The art of Alfred Hitchcock : fifty years of his motion pictures / | PN 1998.3 S765a 1992 The art of Alfred Hitchcock : fifty years of his motion pictures / | PN 1998.3 S839f 1993 The films of Alfred Hitchcock / | PN 1998.3 S878n 2006 Not quite a memoir : of films, books, the world / | PN 1998.3 S879c 2021 Chasing the light : writing, directing, and surviving Platoon, Midnight Express, Scarface, Salvador, and the movie game / | PN 1998.3 S923s 2022 Sofia Coppola : forever young / |
Includes filmography.
Includes bibliographical references (p. 148] and index.
Blackmail -- Shadow of a Doubt -- The Wrong Man -- Vertigo -- Psycho -- The Birds.
"Alfred Hitchcock is one of the few filmmakers to combine a strong reputation for high-art filmmaking with great mass-audience popularity. This introduction to his oeuvre provides an overview of a long and prolific career. David Sterritt examines, among other issues, the varied influences on his work; the themes that run through many of his films; the overlooked importance of his presence within his films, including his famous cameo appearances and the characters who "represent" him within the story; his fascination with performance and the ambiguities of illusion and reality; and the question of viewing the filmmaker and his work through the auteur theory. Also discussed is the relationship between Hitchcock as a serious, even tormented, artist and Hitchcock as a magician with a weakness for cinematic practical jokes. Sterritt then provides in-depth analysis of key Hitchcock films: Blackmail, his first talkie; Shadow of a Doubt, one of his personal favorites; The Wrong Man, which questions the nature of guilt and innocence; Vertigo, arguably his most profound work; Psycho, his most savage look at the nature of evil; and The Birds, his last masterpiece and one of his most widely misunderstood films."--Jacket
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