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Hitchcock

Hitchcock
作者:Francois Truffaut / Alfred Hitchcock
出版社:Simon & Schuster
出版年:1985-10
ISBN:9780671604295
行业:其它
浏览数:298

内容简介

Any book-length interview with Alfred Hitchcock is valuable, but considering that this volume's interlocutor is François Truffaut, the conversation is remarkable indeed. Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

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作者简介

François Roland Truffaut was an award-winning and influential filmmaker, critically acclaimed worldwide. He was also a talented and sought-after film critic in France (most notably, his work for Cahiers du Cinema), and one of the founders of the French New Wave and the auteur theory; he remains an icon of the French film industry. In a film career lasting over a quarter of a century, he was also a screenwriter, producer or occasional actor in over twenty-five films.

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目录

Preface to the Revised Edition

Introduction

1: Childhood

Behind prison bars

"Came the dawn"

Michael Balcon

Woman to Woman

Number Thirteen

Introducing the future Mrs. Hitchcock

A melodramatic shooting: The Pleasure Garden

The Mountain Eagle

2: The first true Hitchcock: The Lodger

Creating a purely visual form

The glass floor

Handcuffs and sex

Why Hitchcock appears in his films

Downhill

Easy Virtue

The Ring and One-Round Jack

The Farmer's Wife

The Griffith influence

Champagne

The last silent movie: The Manxman.

3: Hitchcock's first sound film: Blackmail

The Shuftan process

Juno and the Paycock

Why Hitchcock will never film Crime and Punishment

What is suspense?

Murder

The Skin Game

Rich and Strange

Two innocents in Paris

Number Seventeen

Cats, cats everywhere

Waltzes from Vienna

The lowest ebb and the comeback.

4. The Man Who Knew Too Much

When Churchill was chief of police

M

From "The One Note Man" to the deadly cymbals

Clarification and simplification

The Thirty-nine Steps

John Buchan's influence

Understatement

An old, bawdy story

Mr. Memory

Slice of life and slice of cake

5. The Secret Agent

You don't always need a happy ending

What do they have in Switzerland?

Sabotage

The child and the bomb

An example of suspense

The Lady Vanishes

The plausibles

A wire from David O. Selznick

The last British film: Jamaica Inn

Some conclusions about the British period.

6: Rebecca: A Cinderella-like story

"I've never received an Oscar"

Foreign Correspondent

Gary Cooper's mistake

In Holland, windmills and rain

The bloodstained tulip

What's a MacGuffin?

Flashback to The Thirty-nine Steps

Mr. and Mrs. Smith

"All actors are cattle"

Suspicion

The luminous glass of milk

7: Sabotage versus Saboteur

A mass of ideas clutters up a picture

Shadow of a Doubt

Tribute to Thornton Wilder

"The Merry Widow"

An idealistic killer

Lifeboat

A microcosm of war

Like a pack of dogs

Return to London

Modest war contribution: Bon Voyage and Aventure Malgache.

8: Return to America

Spellbound

Collaboration with Salvador Dali

Notorious

"The Song of the Flame"

The uranium MacGuffin

Under surveillance by the FBI

A film about the cinema

The Paradine Case

Can Gregory Peck play a British lawyer?

An intricate shot

Horny hands, like the devil!

9: Rope: From 7:30 to 9:15 in one shot

Clouds of spun glass

Colors and shadows

Walls that fade away

Films must be cut

How to make noises rise from the street

Under Capricorn

Infantilism and other errors in judgment

Run for cover!

"Ingrid, it's only a movie!"

Stage Fright

The flashback that lied

The better the villain, the better the picture

10: Spectacular comeback via Strangers on a Train

A monopoly on the suspense genre

The little man who crawled

A bitchy wife

I Confess

A "barbaric sophisticate"

The sanctity of confession

Experience alone is not enough

Fear of the police

Story of a ménage á trois

11: Dial M for Murder

Filming in 3-D

The theater confines the action

Rear Window

The Kuleshov experiment

We are all voyeurs

Death of a small dog

The size of the image has a dramatic purpose

The surprise kiss versus the suspense kiss

The Patrick Mahon case and the Dr. Crippen case

To Catch a Thief

Sex on the screen

The Trouble with Harry

The humor of understatement

The Man Who Knew Too Much

A knife in the back

The clash of cymbals

12: The Wrong Man

Absolute authenticity

Vertigo

The usual alternatives: suspense or surprise

Necrophilia

Kim Novak on the set

Two projects that were never filmed

A political suspense movie

North by Northwest

The importance of photographic documentation

Dealing with time and space

The practice of the absurd

The body that came from nowhere

13: Ideas in the middle of the night

The longest kiss in screen history

A case of pure exhibitionism

Never waste space

Screen imagery is make-believe

Psycho

Janet Leigh's brassière.

Red herrings

Directing the audience

How Arbogast was killed

A shower stabbing

Stuffed birds

How to get mass emotions

Psycho: A film-maker's film

14: The Birds

The elderly ornithologist

The gouged-out eyes

The girl in a gilded cage

Improvisations

The size of the image

The scene that was dropped

An emotional truck

Electronic sounds

Practical jokes

15: Marnie

A fetishist love

The Three Hostages, Mary Rose, and R.R.R.R.

Torn Curtain

The bus is the villain

The scene in the factory

Every film is a brand-new experience

The rising curve

The situation film versus the character film

"I only read the London Times"

A strictly visual mind

Hitchcock a Catholic film-maker?

A dream for the future: A film showing twenty-four hours in the life of a city

16: Hitchcock's final years

Grace Kelly abandons the cinema

More on The Birds, Marnie, and Torn Curtain

Hitch misses the stars

The "great flawed films"

A project that was dropped

Topaz made to order for the front office

Return to London with Frenzy

The pacemaker and Family Plot

Hitchcock laden down with tributes and honors

Love and espionage

The Short Night

Hitchcock is ill, Sir Alfred is dead

The end

The Films of Alfred Hitchcock

Selected Bibliography

Index of Film Titles

Index of Names

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读书文摘

希区柯克:在电影创作和纪录片创作之间有很大的不同,在纪录片中,上帝是导演,是他创造了基础材料。在故事片中,导演是上帝,他应该创造生活。为了拍摄一部影片,必须积累一大堆印象、一大堆表达方法、一大堆观点,只要不让影片显得单调,我们就应该享有完全的自由。一个对我说真实性的批评家,是一个没有想像力的人。

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