Camera Obscura (2011) - Vertigo and the Vertiginous History of Film Theory
Details
- article: Vertigo and the Vertiginous History of Film Theory
- author(s): K. Ravetto-Biagioli
- journal: Camera Obscura (01/Jan/2011)
- issue: volume 25, issue 3 75, pages 101-141
- DOI: 10.1215/02705346-2010-011
- journal ISSN: 0270-5346
- keywords: "A Hitchcock Reader" - edited by Marshall Deutelbaum and Leland A Poague, "Footsteps in the Fog" - by Jeff Kraft and Aaron Leventhal, "Hitch and His Public" - by Jean Douchet, "Hitchcock" - by François Truffaut, "Hitchcock: The Murderous Gaze" - by William Rothman, "The Dark Side of Genius: The Life of Alfred Hitchcock" - by Donald Spoto, "The Women Who Knew Too Much" - by Tania Modleski, "Vertigo: The Making of a Hitchcock Classic" - by Dan Auiler, Aaron Leventhal, Alfred Hitchcock, Barbara Bel Geddes, British Film Institute, Cahiers du Cinéma, Charles Barr, Claude Chabrol, Dan Auiler, Dial M for Murder (1954), Donald Spoto, Douglas A. Cunningham, Douglas Gordon, Farley Granger, Filming locations for Vertigo (1958) - Ernie's Restaurant, Filming locations for Vertigo (1958) - Fort Point, Golden Gate Bridge, François Truffaut, Fredric Jameson, James Stewart, Jean Douchet, Jeff Kraft, John Orr, Kim Novak, Laura Mulvey, Leland Poague, Lynda Myles, Marshall Deutelbaum, Mission Dolores Church and Cemetery, San Francisco, California, Mission San Juan Bautista, California, Motion picture criticism, Motion picture directors & producers, Motion picture industry, Motion pictures, New York City, North by Northwest (1959), Notorious (1946), Palace of Fine Arts, San Francisco, California, Patricia Hitchcock, Patricia Pisters, Paul Verhoeven, Peter Bogdanovich, Psycho (1960), Raymond Bellour, Rear Window (1954), Robert Walker, Robin Wood, San Francisco, California, Saul Bass, Screen (1975) - Visual pleasure and narrative cinema, Slavoj Žižek, Strangers on a Train (1951), Susan White, Sutter Street, San Francisco, California, Tania Modleski, The Birds (1963), The Wrong Man (1956), Tom Cohen, Tom Helmore, Vertigo (1958), Virginia Wright Wexman, William Rothman, Éric Rohmer
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Abstract
Ravetto-Biagioli talks about Alfred Hitchcock's Vertigo. Fifty years after its initial release, Alfred Hitchcock's Vertigo (US, 1958) remains one of the most celebrated films of all time. But because of its complexity, its dark romanticism, its challenging of filmic conventions, genres, and narrative time, Vertigo's impact on the history of filmmaking is more ambiguous than that of Psycho (dir. Alfred Hitchcock, US, 1960), Dial M for Murder (dir. Alfred Hitchcock, US, 1954), and North by Northwest (dir. Alfred Hitchcock, US, 1959) -- all of which have generated a number of filmic remakes and parodies. Vertigo's complicated narrative structure, its psychological twists, and its discontinuous treatment of time, space, and perspective make it difficult to recreate.
