Alfred Hitchcock's Psycho: A Casebook (Casebooks in by Robert Kolker

By Robert Kolker

Alfred Hitchcock's Psycho: A Casebook collects a number of the most interesting essays in this groundbreaking film--a movie that's perfect for educating the language of cinema and the ways that powerful filmmakers can holiday Hollywood conventions. Psycho is a movie that may be used to offer the constructions of composition and slicing, narrative and style development, and perspective. The movie can be a highpoint of the horror style and an instigator of all of the slasher movies to come back in its wake. The essays within the casebook hide all of those components and extra. additionally they serve one other goal: provided chronologically, they symbolize the adjustments within the methodologies of movie feedback, from the 1st journalist experiences and early auteurist ways, via present psychoanalytic and gender feedback. different decisions comprise an research of Bernard Hermann's ranking and its shut courting to Hitchcock's visible building; the recognized Hitchcock interview by means of Fran�ois Truffaut; and an essay via Robert Kolker that, by utilizing stills taken without delay from the movie, heavily reads its notable cinematic constitution. members comprise Robert Kolker, Stephen Rebello, Bosley Crowther, Jean Douchet, Robin wooden, Raymond Durgnat, Royal S. Brown, George Toles, Robert Samuels, and Linda Williams.

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Additional info for Alfred Hitchcock's Psycho: A Casebook (Casebooks in Criticism)

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The director told writer Charles Higham in The Celluloid Muse, “Psycho all came from Robert Bloch. Joseph Stefano . . ” Robert Bloch attributes Stefano’s peckishness to simple turf rivalry. “It’s a good thing Mr. ” But it had long been Hitchcock’s tendency to appropriate any good idea as his own. , the hour to which the director agreed to accommodate Stefano’s ongoing sessions with a psychoanalyst. According to the writer, “When it got down to ‘Let’s get some work done,’ he was never very eager.

Elvis Presley did, as Wild in the Country, from a script by Clifford Odets. Stefano hopped to MCA, where he was represented by Ned Brown, the very agent who had finessed the acquisition of Psycho for Hitchcock. ” Meetings for Stefano with William Wyler and Otto Preminger had short-circuited when Lew Wasserman alerted Brown to Hitchcock’s immediate need for a 42 The Inception writer. Hitchcock rejected Stefano sight unseen, telling agent Brown, “My fear about Mr. ” The director had lumped Stefano with what he termed “the Reginald Rose– ‘Playhouse 90’ crowd”—humorless, self-important types with Something to Say.

The hour to which the director agreed to accommodate Stefano’s ongoing sessions with a psychoanalyst. According to the writer, “When it got down to ‘Let’s get some work done,’ he was never very eager. He was very hard to pin down. I wanted him to tell me what he expected this movie to be like, but the preferred gabbing, gossiping, and he loved to laugh. I think he really got a kick out of me. He told me his last writer, Ernie Lehman [North by Northwest], was a worrier and a bitcher. ’ ” For Stefano, keeping Hitchcock’s quicksilver mind attuned to Psycho was an uphill battle all the way.

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