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Specificaties
- Objectstaat
- Book Title
- Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Fi
- ISBN
- 9781498563505
- Publication Year
- 2018
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Publication Name
- Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Films
- Item Height
- 1.2in
- Item Length
- 9.3in
- Publisher
- Lexington Books/Fortress Academic
- Item Width
- 6.1in
- Item Weight
- 0 Oz
- Number of Pages
- 412 Pages
Over dit product
Product Information
Mark Padilla's classical reception readings of Alfred Hitchcock features some of the director's most loved and important films, and demonstrates how they are informed by the educational and cultural classicism of the director's formative years. The six close readings begin with discussions of the production histories, so as to theorize and clarify how classicism could and did enter the projects. Exploration of the films through a classical lens creates the opportunity to explore new themes and ideological investments. The result is a further appreciation of both the engine of the director's storytelling creativity and the expressionism of classicism, especially Greek myth and art, in British and American modernism. The analysis organizes the material into two triptychs, one focused on the three films sharing a wrong man pattern (wrongly accused man goes on the run to clear himself), the other treating the films starring the actress Grace Kelly. Chapter One, on The 39 Steps (1935), finds the origins of the wrong man plot in early 20th-century British classicism, and demonstrates that the movie utilizes motifs of Homer's Odyssey. Chapter Two, on Saboteur (1942), theorizes the impact of the director's memories of the formalism and myths associated with the Parthenon sculptures housed in the British Museum. Chapter Three, on North by Northwest, participates in the myths of the hero Oedipus, as associated with early Greek epic, Freud, Nietzsche, and Sophocles. Chapter Four, on Dial M for Murder (1954), returns to Homer's Odyssey in the interpretive use of "the lay of Demodocus," a story about the sexual triangle of Hephaestus, Aphrodite, and Ares. Chapter Five, on Rear Window (1954), finds its narrative archetype in The Homeric Hymn to Aphrodite; the erotic theme of Sirius, the Dog Star, also marks the film. Chapter Six, on To Catch a Thief (1955), offers the opportunity to break from mythic analogues, and to consider the film's philosophical resonances (Plato and Epicurus) in the context of motifs coalesced around the god Dionysus/Bacchus.
Product Identifiers
Publisher
Lexington Books/Fortress Academic
ISBN-10
1498563503
ISBN-13
9781498563505
eBay Product ID (ePID)
12038380734
Product Key Features
Publication Name
Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Films
Format
Hardcover
Language
English
Publication Year
2018
Type
Textbook
Number of Pages
412 Pages
Dimensions
Item Length
9.3in
Item Height
1.2in
Item Width
6.1in
Item Weight
0 Oz
Additional Product Features
Lc Classification Number
Pn1998.3
Reviews
Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Films is certainly a rewarding. . . read. . . To anybody interested in the subject, I would suggest starting with the author's Classical Myth in Four Films of Alfred Hitchcock before approaching this very profound piece of classical reception studies. Analysing Hitchcock films along the lines of (and as a helpful comparison to) classical myth is not an entirely new approach.[3] Padilla's book, however, takes it to the next level and is therefore recommended not only to specialists, but also to everyone interested in classical myth as a dynamic phenomenon., In this welcome follow-up to his Classical Myth in Four Films of Alfred Hitchcock, Padilla continues to demonstrate the profound influence of classical myths and imagery on many of the Master of Suspense's most important works. Classicists and scholars of film and classical receptions alike will appreciate Padilla's thorough research, keen insights, and perceptive analysis, which are made accessible to lay audiences - both Hitchcock fans and armchair mythologists - through clear organization, direct prose, and full exposition of the works he discusses. By highlighting the imprint of classical myths, images, and patterns on the seemingly unrelated works of one of the most influential auteur-directors in the history of cinema, Padilla here makes an important contribution to the growing field of Reception Studies., P. is committed to making this book accessible to all audiences independently of their discipline of origin. Hence he spends a lot of time introducing concepts, myths, traditions, historical events, plots, production practices and film techniques. The avoidance of excessive jargon helps him deliver a monograph that can be read by both classical and film scholars alike - let alone Hitchcock enthusiasts. Although either side might be tempted to skip parts they feel more comfortable with, or the ones that alienate them, P. weaves his interpretation throughout these discussions by carefully going back and forth between texts to present a plausible and, ultimately, fascinating reading that is aided by his extensive knowledge of both sides of the project. As a result his book merits attention not just as a curiosity but as a serious attempt at film analysis. . . . In this sense P. benefits from alternative readings of the film, but his eye remains always on his perspective, thus making his interpretation original, insightful and very interesting to read., The several "prodigious feats" of classicist Mark Padilla in this book more than emulate those of Mr Memory in Alfred Hitchcock's The 39 Steps (1935). Professor Padilla's accomplishment is to have placed six Hitchcock films and their characters in something like a fundamental position in the history of art and narrative. His lens is that of Greek myth and culture, and it works splendidly. The character Richard Hannay (Robert Donat) in The 39 Steps is "both high and low", and we are told exactly why. Lisa Fremont (Grace Kelly) in Rear Window (1954) is successively "self-centered" and "heroic", and Padilla illustrates this by analogues drawn from two separate versions of the Aphrodite/Venus story. Exemplary stuff. Whole courses on the Western-art heritage could be based on Padilla's book.
Table of Content
Preface List of the Feature Films of Alfred Hitchcock List of Illustrations Introduction Part One: Three Wrong Man Films Chapter One: The 39 Steps' Reception of Homer's Odyssey: Modernist Myth via John Buchan and Gilbert Murray Chapter Two: Saboteur and the British Museum's Parthenon Sculptures: Athena, Hephaestus, and Poseidon as Models for Pat, Barry, and Tobin Chapter Three: North by Northwest's Receptions of Oedipus: Campbell, Freud, Nietzsche, and Sophocles Part Two: The Three Grace Kelly Films Chapter Four: Dial M for Murder as the Net of Hephaestus: Untangling the Mythic Imagination of Frederick "Knott" Chapter Five: Rear Window's Seductions: The Homeric Hymn to Aphrodite and Sirius' Dog Star Ritualism Chapter Six: To Catch a Thief's Vacation on France's Cote d'Azur: Maenads, Dionysian Actors, and Plato's Sophrosyne Bibliography Index
Copyright Date
2018
Target Audience
Scholarly & Professional
Topic
History & Surveys / Ancient & Classical, Ancient & Classical, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts)
Lccn
2018-037615
Dewey Decimal
791.430233092
Dewey Edition
23
Illustrated
Yes
Genre
Literary Criticism, Philosophy, Performing Arts
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