In spite of being set in the most cramped of city-based fictional areas, Alfred Hitchcock's Rear Window (1954) successfully presents the bustling aesthetics of a whole metropolis while managing to retain an almost claustrophobic isolation. In the film, Hitchcock presents a temporarily wheelchair-bound photographer who becomes obsessed with a neighbour. He suspects the unusual man … Continue reading Sounds of the City – Defining the Metropolis in Alfred Hitchcock’s Rear Window (1954).
Part 1. Part 2. Part 3. Combining the Readings: Similarities, Contradictions and Cross-Over. "It's as if the film were pinpointing the very essence of the unfilmable: the entwined couple, monstrous, the two-backed beast of the primal scene, the impossible couple of body and voice." - Michel Chion (1999, p.149). While Murphy and Fenimore examine and … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 4 (Conclusions)
Part 1. Part 2. Emphasis on Acousmatic Concepts in Ross J. Fenimore's "Voices that Lie Within". "Psycho almost didn't happen. This is a unique case of music literally saving a film." - Sullivan (2006, p.246). Like much literature around Psycho, Fenimore's "Voices That Lie Within" begins its argument with setting the scene. "Psycho begins with … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)
Sound and Music in Alfred Hitchcock's Psycho and its Different Readings. Introduction. "If Psycho had been intended as a serious picture, it would have been shown as a clinical case with no mystery or suspense. The material would have been used as the documentation of the case history. We've already mentioned that total plausibility and … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 1