One Shot Hitchcock
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portes grátis
One Shot Hitchcock
A Contemporary Approach to the Screen
Robinson, Luke; Robson, Melanie
Oxford University Press Inc
05/2024
312
Dura
9780197682876
15 a 20 dias
Descrição não disponível.
1. One Shot: Hitchcock's Crime Scenes
Luke Robinson and Melanie Robson
2. The Lodger (1927): Contaminating British silent cinema
Sebastian Smoli'nski
3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink
Tom Gunning
4. Sabotage (1936): A thriller and its aftereffects
Helen Hughes
5. Rebecca (1940): The impure object of vision
Bruce Isaacs
6. Shadow of a Doubt (1943): Performing a murder(er)
Melanie Robson
7. Aventure Malgache (1944): French colonial tensions
Charles Barr
8. Rope (1948): Chromatic design and neon light
Sarah Street
9. Rear Window (1954): Intermedialities of peeping in the plural
Martin P. Rossouw
10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth
Susana Viegas
11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood
Megan Carrigy
12. The Wrong Man (1956): Towards singularity
Noa Steimatsky
13. Vertigo (1958): Labor in a single shot
Domietta Torlasco
14. The Birds (1963): Trauma and the right of reply
Julian Murphet
15. Marnie (1964): Restroom
Jodi Brooks
16. Frenzy (1972): Pulling focus between a woman's face and a face of death
Luke Robinson
Index
Luke Robinson and Melanie Robson
2. The Lodger (1927): Contaminating British silent cinema
Sebastian Smoli'nski
3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink
Tom Gunning
4. Sabotage (1936): A thriller and its aftereffects
Helen Hughes
5. Rebecca (1940): The impure object of vision
Bruce Isaacs
6. Shadow of a Doubt (1943): Performing a murder(er)
Melanie Robson
7. Aventure Malgache (1944): French colonial tensions
Charles Barr
8. Rope (1948): Chromatic design and neon light
Sarah Street
9. Rear Window (1954): Intermedialities of peeping in the plural
Martin P. Rossouw
10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth
Susana Viegas
11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood
Megan Carrigy
12. The Wrong Man (1956): Towards singularity
Noa Steimatsky
13. Vertigo (1958): Labor in a single shot
Domietta Torlasco
14. The Birds (1963): Trauma and the right of reply
Julian Murphet
15. Marnie (1964): Restroom
Jodi Brooks
16. Frenzy (1972): Pulling focus between a woman's face and a face of death
Luke Robinson
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
1. One Shot: Hitchcock's Crime Scenes
Luke Robinson and Melanie Robson
2. The Lodger (1927): Contaminating British silent cinema
Sebastian Smoli'nski
3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink
Tom Gunning
4. Sabotage (1936): A thriller and its aftereffects
Helen Hughes
5. Rebecca (1940): The impure object of vision
Bruce Isaacs
6. Shadow of a Doubt (1943): Performing a murder(er)
Melanie Robson
7. Aventure Malgache (1944): French colonial tensions
Charles Barr
8. Rope (1948): Chromatic design and neon light
Sarah Street
9. Rear Window (1954): Intermedialities of peeping in the plural
Martin P. Rossouw
10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth
Susana Viegas
11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood
Megan Carrigy
12. The Wrong Man (1956): Towards singularity
Noa Steimatsky
13. Vertigo (1958): Labor in a single shot
Domietta Torlasco
14. The Birds (1963): Trauma and the right of reply
Julian Murphet
15. Marnie (1964): Restroom
Jodi Brooks
16. Frenzy (1972): Pulling focus between a woman's face and a face of death
Luke Robinson
Index
Luke Robinson and Melanie Robson
2. The Lodger (1927): Contaminating British silent cinema
Sebastian Smoli'nski
3. The Manxman (1929): Written on the water: Hitchcock's dissolving ink
Tom Gunning
4. Sabotage (1936): A thriller and its aftereffects
Helen Hughes
5. Rebecca (1940): The impure object of vision
Bruce Isaacs
6. Shadow of a Doubt (1943): Performing a murder(er)
Melanie Robson
7. Aventure Malgache (1944): French colonial tensions
Charles Barr
8. Rope (1948): Chromatic design and neon light
Sarah Street
9. Rear Window (1954): Intermedialities of peeping in the plural
Martin P. Rossouw
10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional myth
Susana Viegas
11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in Hollywood
Megan Carrigy
12. The Wrong Man (1956): Towards singularity
Noa Steimatsky
13. Vertigo (1958): Labor in a single shot
Domietta Torlasco
14. The Birds (1963): Trauma and the right of reply
Julian Murphet
15. Marnie (1964): Restroom
Jodi Brooks
16. Frenzy (1972): Pulling focus between a woman's face and a face of death
Luke Robinson
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
