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Hidden Hitchcock by Miller, D. A. - Brand New, Free Shipping - 022637467X
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eBay-objectnummer:134310665479
Specificaties
- Objectstaat
- ISBN
- 9780226374673
Over dit product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022637467X
ISBN-13
9780226374673
eBay Product ID (ePID)
17038277691
Product Key Features
Number of Pages
208 Pages
Language
English
Publication Name
Hidden Hitchcock
Subject
Film / General, Media Studies, American / General, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts), Film / History & Criticism
Publication Year
2016
Type
Textbook
Subject Area
Literary Criticism, Performing Arts, Social Science
Format
Hardcover
Dimensions
Item Height
0.1 in
Item Weight
12.9 Oz
Item Length
0.9 in
Item Width
0.6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2015-046038
Reviews
Clever and elegant, this super close-up look at just a few moments in Strangers on a Train , Rope , and The Wrong Man goes to the heart of what it means to 'view' and 'read' any film--and by extension, any work of representational art. Because it brings the issue of interpretation back to the table, I would recommend Hidden Hitchcock to everyone who cares about the value and power of movies., For D. A. Miller, in his . . . excellent new book, Hidden Hitchcock , the master's films don't only teach us, they tease us. Not a bullying kind of teasing so much as a strip kind of teasing, which is to say, they show us everything, just not that . A big part of Hidden Hitchcock 's considerable pleasure lies in trying to figure just what that is. Miller takes us on an almost Herzogian (Werner, with a bit of Moses mixed in) quest to uncover a hidden drama playing out in the background of Hitchcock's films. . . . Ultimately, Miller's book is a powerful polemic in favor of an old-school, deeply imaginative, defiantly subjective mode of interpretation that we might associate with Susan Sontag at her best, or Roland Barthes pretty much all the time. And it returns us to the problem of the unconscious in an era when theorists keep trying to wish it away., The drama of Hidden Hitchcock is an amour fou between its subject and its author, the hypervigilant viewer whom Hitchcock baits with meaningless discrepancies and rankling imperfections. Studying those imperfections can be deranging, and one way to read Miller's book is as an essay on the obsessive, socially isolating behavior moviegoing involves., Miller offers . . . a way to rethink the ways we watch and engage with all films, not just the Hitchcockian ones., Miller offers . . . a way to rethink the ways we watch and engage with all films, not just the Hitchcockian ones., Miller's too-close readings asks those who follow to surrender the pleasures it derails for the much more tendentious, even obsessive-compulsive, pleasures it offers in return., Tthe incredibly close formalist reading on display in Hidden Hitchcock should not be taken as a turning away from Miller's more obviously political work on discipline and surveillance (in a Foucauldian sense), or on queerness, the closet, and textual pleasure. Rather it marks a continuation of a longrunning concern, namely, how the person, willingly or defiantly or ambivalently, is incarnated in narrative form, not by the smooth running of hermeneutic codes, nor by repressive enclosure, but by the very breakdowns, lapses, and stutterings of style.", "For D. A. Miller, in his . . . excellent new book, Hidden Hitchcock , the master's films don't only teach us, they tease us. Not a bullying kind of teasing so much as a strip kind of teasing, which is to say, they show us everything, just not that . A big part of Hidden Hitchcock 's considerable pleasure lies in trying to figure just what that is. Miller takes us on an almost Herzogian (Werner, with a bit of Moses mixed in) quest to uncover a hidden drama playing out in the background of Hitchcock's films. . . . Ultimately, Miller's book is a powerful polemic in favor of an old-school, deeply imaginative, defiantly subjective mode of interpretation that we might associate with Susan Sontag at her best, or Roland Barthes pretty much all the time. And it returns us to the problem of the unconscious in an era when theorists keep trying to wish it away." , The drama of Hidden Hitchcock is an amour fou between its subject and its author, the hypervigilant viewer whom Hitchcock baits with meaningless discrepancies and rankling imperfections. Studying those imperfections can be deranging, and one way to read Miller's book is as an essay on the obsessive, socially isolating behavior moviegoing involves., Miller's enjoyable, vivacious romp through viewing and reviewing the cinema of Hitchcock pioneers a compelling new approach to viewership and carves out new scholarly territory. This is a major contribution to the literature on Hitchcock and film studies more broadly. Essential., Clever and elegant, this super close-up look at just a few moments in Strangers on a Train , Rope , and The Wrong Man goes to the heart of what it means to 'view' and 'read' any film--and by extension, any work of representational art. Because it brings the issue of interpretation back to the table, I would recommend Hidden Hitchcock to everyone who cares about the value and power of movies.
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
791.4302/33092
Table Of Content
Preview Hidden Pictures ( Strangers on a Train ) Understyle ( Rope ) The Long Wrong Man Credits Notes Bibliography
Synopsis
No filmmaker has more successfully courted mass-audience understanding than Alfred Hitchcock, and none has been studied more intensively by scholars. In Hidden Hitchcock , D. A. Miller does what seems impossible: he discovers what has remained unseen in Hitchcock's movies, a secret style that imbues his films with a radical duplicity. Focusing on three films-- Strangers on a Train , Rope , and The Wrong Man --Miller shows how Hitchcock anticipates, even demands a "Too-Close Viewer." Dwelling within us all and vigilant even when everything appears to be in good order, this Too-Close Viewer attempts to see more than the director points out, to expand the space of the film and the duration of the viewing experience. And, thanks to Hidden Hitchcock , that obsessive attention is rewarded. In Hitchcock's visual puns, his so-called continuity errors, and his hidden appearances (not to be confused with his cameos), Miller finds wellsprings of enigma. Hidden Hitchcock is a revelatory work that not only shows how little we know this best known of filmmakers, but also how near such too-close viewing comes to cinephilic madness., Hidden Hitchcock is two things: a book about the hidden poetics of the master of suspense, Alfred Hitchcock, and a confession by Miller as he finds himself lured into Hitchcock's ineffable web. Technology has helped Miller pinpoint a secret--and baffling--film recessed alongside the easily identifiable habits of Hitchcock's trademark suspense. These are the Hidden Pictures that Miller has unearthed. In exploring Hitch's latent vision, Miller has many discoveries to share--non-narrative microstructures that he points out for the first time: the second Hitchcock cameo (not the one we are trained to spot), the verbal-to-visual charade, the faux continuity error, to name a few. Their general purpose seems to insinuate a game of hide-and-seek that, until the viewer finds one of these Hidden Pictures, s/he may never know is in play. Through Hitchcock's hidden style, we confront a resistance to meaning so deep-seated that it seems less a project than a compulsion (a psychic drive); and so anti-social that to redeem it by assigning it a point risks missing the point.
LC Classification Number
PN1998.3.H58M55 2016
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