Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. New Releases. Hitchcock's Motifs. Description Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle.
Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever.
The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place. Product details Format Paperback pages Dimensions x x Other books in this series.
European Cinema Thomas Elsaesser.
Add to basket. Hitchcock's Motifs Michael Walker. Figuring the Past Belen Vidal.
Between Stillness and Motion Eivind Rossaak. Transition and Transformation Bo Florin. A Revolution for the Screen Paul Cuff. Transfigurations Asbjorn Gronstad. Film Festivals Marijke de Valck. Color and Empathy Christine Brinckmann. About Michael Walker Michael Walker is an independent writer and member of the editorial board of Movie magazine.
To realize the full potential of computational analysis, I contend that research questions should precede both the selection of tools and the data sets to be considered.
But how are we to know where viewers are actually looking? Real-time eyetracking of viewers who are exposed to moving images has long been used in fields such as marketing research and interaction design, but it has rarely been so effectively integrated with the argument of a video essay. This consensual experience contrasts sharply with eyetracked scenes from Tati, in which multiple viewers of the same scene demonstrate significant variations of focus.
Hitchcocks Motifs by Walker Michael
To explain this, Faden co-directed an original sequence with Anjalee Hutchinson devoted to explaining and enacting—not merely illustrating—the difference between inattentional blindness and the related phenomenon of change blindness. Additionally, Faden identifies—and richly illustrates—differently executed strategies of visual disturbance in experiments by Godard, Greenaway, Wong Kar Wai and Michael Haneke. This is not a spoiler. Even viewers who instantly recognize the game that is afoot in this scene will still have a difficult time identifying all the changes happening in the video.
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This is a richly informative, educational and conceptual work with extremely high production values. Whether or not it counts as a videographic essay, however, is uncertain. With a run-time of over 46 minutes, it pushes the limits of the form in terms of length as well as tone, diverging somewhat from the essayistic and edging towards an illustrated lecture of sorts, more than a provocation. This is a worthy aim, yet the statement seems unnecessarily dismissive of videographic criticism that has come before it, especially as it reiterates rather than departs from standard videographic critical practice.
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This is something that Faden explores in relation to both Tati and Hitchcock. Here, Faden emphasises how repeat viewing far predates the advent of home video technologies and in fact, stretches back to pre-cinema technologies like the Mutoscope and Praxinoscope, as mentioned towards the end , demonstrating its relevance to Tati in particular. To a degree, however, Hitchcock and Tati were also utilising these devices as forms of promotion and branding.
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Overall, this work is an achievement on multiple levels. At times, the pace can feel slow especially as it demands such a considerable span of attention , although perhaps the peppering of dramatic pauses is needed to process the density of the material being unpacked. Certainly, there are diverse histories and currents of thought that animate these conceptions of cinematic perception and invisibility, yet it could be interesting to explore them.
Despite these quibbles, this videographic work is truly impressive.