"[Serious minded criticism of Alfred
Hitchcock's film ROPE] may be considered
almost definitively shaped by a ritual of
recounting and assessing the director's desire to
do the film, as he put it, 'in a single shot,' or at
any rate, as nearly without the benefit of
montage as the state-of-the-art allowed in 1948,
when a camera held only ten minutes worth of
film.
[Yet this technicist bias] has hardly managed to
generate a single accurate account…
"[Serious minded criticism of Alfred
Hitchcock's film ROPE] may be considered
almost definitively shaped by a ritual of
recounting and assessing the director's desire to
do the film, as he put it, 'in a single shot,' or at
any rate, as nearly without the benefit of
montage as the state-of-the-art allowed in 1948,
when a camera held only ten minutes worth of
film.
[Yet this technicist bias] has hardly managed to
generate a single accurate account…
A film studies presentation by Catherine Grant (delivered virtually, in absentia, due to illness) for the "Queer Cinema and the Politics of the Global" Workshop held at the University of Sussex, May 12, 2012. The Workshop is part of series of events held by the Arts and Humanities Research Council-funded research network GLOBAL QUEER CINEMA based at Sussex, led by Rosalind Galt.
THE RAILWAY CHILDREN (Lionel Jeffries, 1970) was a film I ardently watched countless times on television as a child, and, I have to confess, I have seen and loved it countless times since.
I had certainly seen it long before I saw L'ARRIVEE D'UN TRAIN EN GARE DE LA CIOTAT (Lumière Bros., 1895). I noticed the resemblance between the two films only when watching Jeffries' film again recently. But when I explored this, I was struck by the extent of…
"[Pastiche] can, at its best, allow us to feel our connection to the affective frameworks, the structures of feeling, past and present, that we inherit and pass on. That is to say, it can enable us to know ourselves affectively as historical beings."
Richard Dyer, PASTICHE (London and New York: Routledge, 2007)
This video affords its viewers a real-time space for comparison of the opening titles sequences of ALL THAT HEAVEN ALLOWS (Douglas Sirk,…
A real-time space for comparison, for scholarly purposes, of a sequence in the silent and sound versions of Alfred Hitchcock's BLACKMAIL (1929).
Read more about this video and the films it features here: http://filmstudiesforfree.blogspot.com/2012/03/garden-of-forking-paths-hitchcocks.html.
Also see: "Skipping ROPE (Through Hitchcock's Joins)" - http://vimeo.com/41195578
A tiny transfusion of fleeting, Swedish, film sequences. Catherine Grant will discuss this companion piece to her video essay TOUCHING THE FILM OBJECT (http://filmanalytical.blogspot.com/2011/08/touching-film-object-notes-on-haptic-in.html) at a workshop on "VIDEO ESSAYS: FILM SCHOLARSHIP'S EMERGENT FORM" at the 2012 Society for Cinema and Media Studies Conference, 5pm on March 22, 2012 in Boston. Her fellow workshop participants will include Christian…
An entry for Press Play's VERTIGOED Contest (http://blogs.indiewire.com/pressplay/the-vertigo-contest) by Catherine Grant (http://filmstudiesforfree.blogspot.com)..
Kim Novak, co-star of VERTIGO (Alfred Hitchcock, 1958), took out an ad in VARIETY (http://blogs.indiewire.com/theplaylist/kim-novak-upset-about-use-of-vertigo-score-in-the-artist-dramatically-calling-it-rape) protesting the use of Bernard Herrmann's VERTIGO score in Michel Hazanavicius’s…
Films accumulate meaning through, at times, very subtle moves. From one colour to another. From one shape to another. The latter is the case with BROKEBACK MOUNTAIN (Ang Lee, 2005).
While much of the film's affective meaning is conjured through quite obvious (but no less moving for that) figurations of absence and presence, such as Ennis's discovery of the (now 'empty') bloodied shirts in Jack's closet, and their (still 'empty') reappearance in Ennis's…
Just think about it… What if you were trapped under something heavy and the mouse was out of your reach? Scary, right? That's exactly why we have these keyboard shortcuts so you can still use Vimeo until the help arrives.
