The document lists various projects in design and art direction including books on art museums, artists, decorative art, industrial design, films, and magazines. It specifies designing the cover, introduction and spreads for the book "Decorative Art 60s" as well as exhibition books on Asia and films by Hitchcock. It also notes redesigning the magazine "Sight & Sound" in September 2012 and serving as its art director since 2001.
THE HOLLYWOOD ART - AMERICAN HITCHCOCK Volume INick Zegarac
The undisputed master of suspense, Alfred Hitchcock's early American film career is covered, from 1940's Oscar-winning Rebecca to 1952's Dial M For Murder.
THE HOLLYWOOD ART - AMERICAN HITCHCOCK Volume IINick Zegarac
Volume Two covers Alfred Hitchcock's American movie career from 1953, the year he moved over to Paramount Pictures, to his penultimate movie, Family Plot in 1976.
This biography provides background on Alfred Hitchcock and analyzes key themes and stylistic elements in his films. Hitchcock was born in England in 1899 and was influenced by his Jesuit schooling. He began his career in the film industry in England in the 1920s before moving to America in 1939. The biography examines Hitchcock's recurring themes of mistaken identity, fear, and the dark side of human nature. It also analyzes his signature directorial style which featured suspenseful techniques, German Expressionist influences, and visual motifs seen in later film noir genres. The biography traces Hitchcock's career across his British and American films and his lasting influence on subsequent directors.
20th century American drama saw the rise of realism through various movements like the Little Theatre Movement and independent theatre. Eugene O'Neill was a pioneering realist playwright through works like Long Day's Journey Into Night. Other notable American dramatists include Arthur Miller, Tennessee Williams, Edward Albee, Neil Simon, August Wilson, and Lorraine Hansberry, many of whom explored social and political themes through their works. The time period also saw the growth of musical theatre and the flourishing of African American and gay theatre.
Alfred Hitchcock was born in London in 1899 and became famous as the "Master of Suspense" for pioneering suspense and thriller films. He used techniques like unrestricted narratives that gave audiences more information than characters, implying threats rather than showing violence, and featuring "icy blonde" female victims. Recurring motifs in his films included stairs, mistaken identities, and silence instead of dialogue to build suspense. Hitchcock's innovative techniques revolutionized suspense cinema.
The document discusses the development of social realism in British art, theater, film, novels, and television between the 1930s-1960s. It highlights John Osborne's influential 1956 play "Look Back in Anger", which was set in a working class flat and explored social issues, as well as film adaptations of works by Alan Sillitoe and Shelagh Delaney dealing with working class life. Television programs like Armchair Theatre and The Wednesday Play also portrayed social issues in plays and drama serials during this period.
The document discusses the origins and development of social realism in British film and television from the 1930s-1960s. It began with documentary films of the 1930s showing working class lives. In the late 1950s, "kitchen sink" dramas emerged depicting working class people in gritty domestic situations and exploring social issues. John Osborne's influential 1956 play "Look Back in Anger" was a key work, as were 1960 films like "Saturday Night and Sunday Morning" which adapted novels depicting working class life. These works influenced other plays and films into the 1960s that used a documentary style to represent working class stories and controversies.
THE HOLLYWOOD ART - AMERICAN HITCHCOCK Volume INick Zegarac
The undisputed master of suspense, Alfred Hitchcock's early American film career is covered, from 1940's Oscar-winning Rebecca to 1952's Dial M For Murder.
THE HOLLYWOOD ART - AMERICAN HITCHCOCK Volume IINick Zegarac
Volume Two covers Alfred Hitchcock's American movie career from 1953, the year he moved over to Paramount Pictures, to his penultimate movie, Family Plot in 1976.
This biography provides background on Alfred Hitchcock and analyzes key themes and stylistic elements in his films. Hitchcock was born in England in 1899 and was influenced by his Jesuit schooling. He began his career in the film industry in England in the 1920s before moving to America in 1939. The biography examines Hitchcock's recurring themes of mistaken identity, fear, and the dark side of human nature. It also analyzes his signature directorial style which featured suspenseful techniques, German Expressionist influences, and visual motifs seen in later film noir genres. The biography traces Hitchcock's career across his British and American films and his lasting influence on subsequent directors.
20th century American drama saw the rise of realism through various movements like the Little Theatre Movement and independent theatre. Eugene O'Neill was a pioneering realist playwright through works like Long Day's Journey Into Night. Other notable American dramatists include Arthur Miller, Tennessee Williams, Edward Albee, Neil Simon, August Wilson, and Lorraine Hansberry, many of whom explored social and political themes through their works. The time period also saw the growth of musical theatre and the flourishing of African American and gay theatre.
Alfred Hitchcock was born in London in 1899 and became famous as the "Master of Suspense" for pioneering suspense and thriller films. He used techniques like unrestricted narratives that gave audiences more information than characters, implying threats rather than showing violence, and featuring "icy blonde" female victims. Recurring motifs in his films included stairs, mistaken identities, and silence instead of dialogue to build suspense. Hitchcock's innovative techniques revolutionized suspense cinema.
The document discusses the development of social realism in British art, theater, film, novels, and television between the 1930s-1960s. It highlights John Osborne's influential 1956 play "Look Back in Anger", which was set in a working class flat and explored social issues, as well as film adaptations of works by Alan Sillitoe and Shelagh Delaney dealing with working class life. Television programs like Armchair Theatre and The Wednesday Play also portrayed social issues in plays and drama serials during this period.
The document discusses the origins and development of social realism in British film and television from the 1930s-1960s. It began with documentary films of the 1930s showing working class lives. In the late 1950s, "kitchen sink" dramas emerged depicting working class people in gritty domestic situations and exploring social issues. John Osborne's influential 1956 play "Look Back in Anger" was a key work, as were 1960 films like "Saturday Night and Sunday Morning" which adapted novels depicting working class life. These works influenced other plays and films into the 1960s that used a documentary style to represent working class stories and controversies.
The document discusses the origins and development of social realism in British film and television from the 1930s-1960s. It began with documentary films showing working class lives, and was further developed through kitchen sink dramas in the 1950s exploring social issues through stories of working class people. John Osborne's influential 1956 play Look Back in Anger, set in a cramped flat, helped establish the angry young man genre. This led to socially realistic films of the 1960s adapting novels and plays about working class northern English life. Television drama also increasingly portrayed social issues through plays and soap operas like Coronation Street.
Charlie Chaplin was a legendary comedian and filmmaker. Some of his most famous and acclaimed films from 1921-1966 include The Kid, Modern Times, City Lights, and The Great Dictator. Chaplin portrayed the iconic Little Tramp character and created comedy films that explored human emotions and provided social commentary through humor and sentimentality. On his 125th birthday, Chaplin is celebrated for revolutionizing the genre of comedy and creating timeless cinematic works.
Art in Detail: KAHLO, Frida, Featured Paintings guimera
The document features several paintings by Mexican artist Frida Kahlo along with details and quotes about her work. It includes self-portraits where Kahlo depicted her physical pain and emotional turmoil, such as The Broken Column which shows her spine replaced by a fractured column after spinal surgery. Other paintings illustrated her tumultuous marriage to Diego Rivera, like The Two Fridas depicting her heartbreak after their divorce. The details provide insight into Kahlo's life experiences which strongly influenced her artwork.
The document discusses the key themes and characteristics of Romantic art and music from 1800-1850. It focuses on several prominent Romantic artists like David, Goya, Delacroix, and Gericault. Their works often featured nature, heroism, suffering, and nationalism. They also glorified the individual and took artistic license with form. The document uses their paintings to illustrate Romantic ideals of the poet-visionary and themes of the mysterious, exotic, and melodramatic.
The roots of working class representation in britishHeworthMedia1
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that working class culture and lives were typically portrayed through certain established tropes and stereotypes involving northern English settings, industrial imagery, and accents. Several key films from the 1950s/60s like Room at the Top, Saturday Night and Sunday Morning helped bring working class stories and voices to the screen. Television shows like Coronation Street and The Likely Lads also drew upon these filmic tropes to depict working class life. Representation is shaped by earlier cultural works, and tropes become ingrained over time.
BRYULLOV, Karl Pavlovich,Featured Paintings in Detailguimera
The document provides details on several paintings by Russian artist Karl Pavlovich Bryullov, including his most famous work The Last Day of Pompeii painted in 1830-33. It examines Bryullov's style and influence, noting he helped transition Russian art from neoclassicism to romanticism. Bryullov is regarded as a key figure who established himself in Rome before returning to Russia, where he taught at the Imperial Academy of Arts and developed a distinctive portrait style blending neoclassicism and realism. Details are given on several of his other major works from the 1820s-40s focusing on themes of beauty, allegory, and portraiture.
This document provides information about a film festival called "Legends of the Screen" taking place from January 8 to February 3, 2016. It will feature films and programs about great directors like Antonioni, Bergman, Coppola, De Mille, Eisenstein, Fassbinder, Godard, and Hitchcock. In addition to the films, there will be rare footage of interviews and debates between directors and film enthusiasts. The festival schedule then lists the date, time (11:00pm) and film for each event. Short biographies are also provided for each of the featured directors.
The Street of Crocodiles is a 21-minute stop-motion animation from 1986 directed by twin brothers Stephen and Timothy Quay, based on a novel by Polish writer Bruno Schulz. The animation depicts the strange and surreal world of Schulz's stories using puppets made from organic materials to create an eerie atmosphere. The Quay brothers were influenced by Central European artists and the political situation in Poland, creating a dark and mysterious film that reflects the settings and psychology of Schulz's work.
Chaplin was a pioneering filmmaker who used comedy and his films to make political statements. In his 1940 film The Great Dictator, he mocked Adolf Hitler and Benito Mussolini. During WWII, Chaplin was accused of being too neutral and not supporting the war effort enough. Later films also contained political messages criticizing capitalism and persecution. Chaplin had a long career in film and received many honors, including an honorary Academy Award for his contributions to film as an art form.
The document discusses how classic horror films from the early 20th century still influence modern horror through their innovative techniques. It notes how films like Nosferatu (1922) and Dracula (1931) established conventions for monster and vampire design that are still followed today. These early films manipulated lighting, sets, and character development to create fear rather than relying on graphic violence or special effects. As a result, classics like The Cabinet of Dr. Caligari (1920) and Frankenstein (1931) induced lasting psychological scares rather than just jump scares. Their techniques, such as expressionist sets and sympathetic monsters, remain influential models for modern horror.
The document provides details about the famous 1938 radio broadcast of "The War of the Worlds" by Orson Welles and the Mercury Theatre. It describes how the realistic portrayal of the fictional Martian invasion led some listeners to believe it was a real news broadcast, causing panic. It also discusses some of the regional reactions to the broadcast and subsequent similar radio hoaxes that have occurred over the years which also caused brief periods of public panic and confusion.
This document lists over 100 artworks created by Mexican painter Frida Kahlo between 1925 and 1954, including many self-portraits, portraits of family and friends, and paintings depicting Mexican culture and politics. The artworks span Kahlo's entire career and showcase her exploration of identity, relationships, and social/political issues through a vivid and symbolic style.
This document provides biographical details about actress Grace Kelly. It describes her upbringing in Philadelphia and early career as a model and actress in film and theater. Grace found great success in films directed by Alfred Hitchcock and won an Oscar for her role in The Country Girl. While filming in France, she met Prince Rainier III of Monaco and the two fell in love. Their meeting was arranged by a mutual friend hoping to set them up. By the end of their conversation, both Grace and Rainier were smitten with each other.
The document provides a history of the horror genre across different decades, from the 1700s to the 2000s. It details how the genre was established in the late 18th century through works like The Castle of Otranto. In the 1930s, the advent of sound films transformed horror with added dimensions of sound effects and voices. During the 1940s, wartime horror films produced in America solely entertained domestic audiences. By the 1950s, monsters became more humanized and reflected fears about developments like the atom bomb and death camps. The 1970s saw a return to big budget, psychological horror films addressing societal issues. Technical advances in the 1980s allowed for more realistic special effects and gore. While horror became overly rel
The document provides biographical information about three famous film directors: Alfred Hitchcock, Martin Scorsese, and Quentin Tarantino. It discusses that Alfred Hitchcock is renowned for films made in Hollywood like Psycho and The Birds, but that his directorial talents were evident in his early British films from the 1920s-1930s. It then summarizes Martin Scorsese's background and education in film and notes some of his directorial trademarks involve slow motion shots and use of music. Finally, it outlines Quentin Tarantino's background and early films like Reservoir Dogs and Pulp Fiction, and mentions some of his trademarks like references to cult films and shots from inside cars.
The document discusses the Golden Age of Radio from 1934-1950. It highlights how radio was intimate and brought stories and the world into people's homes. President Roosevelt used radio to directly speak to Americans through his "Fireside Chats." Radio stimulated the imagination through storytelling and a lack of visuals. Popular programs like The Jack Benny Show developed characters over time through comedy and drama. Programs like The Mercury Theatre on the Air and Quiet Please used first person narratives and sound effects to tell suspenseful stories that engaged listeners' imaginations.
15) The Hollywood Art Hello Dolly! 1969Nick Zegarac
The document discusses the film adaptation of the Broadway musical Hello Dolly! starring Barbra Streisand in the title role originally played by Carol Channing. It provides context on the musical's origins as well as the extensive production undertaken by 20th Century Fox to make the film a lavish spectacle. However, Streisand was a controversial casting choice as a young singer instead of one of the established stars who had previously played Dolly on stage like Channing.
This document provides a summary of Frida Kahlo's life and artwork in 3 sentences:
Frida Kahlo was a Mexican painter known for her many self-portraits exploring her identity and pain from a tragic bus accident as a teenager that left her injured and unable to have children. She had a tumultuous marriage to muralist Diego Rivera where they divorced but remarried, with Rivera's affairs a source of heartbreak for Kahlo depicted in some of her paintings. Kahlo created over 100 paintings primarily in a folk art style focusing on themes of identity, post-colonialism, and feminism that have made her one of the most influential artists in Latin American art.
The History of the Horror Genre and AnalysesEllie Buchan
This document discusses the history and evolution of the horror genre across different eras:
1. The roots of horror literature in the 19th century led to classics like Frankenstein and Dracula being adapted to film in the early 20th century. This set conventions for the genre including using music, camera angles, and costumes to build tension and scare audiences.
2. German Expressionist films of the 1920s-30s featured abstract, painterly styles that broke conventions and influenced Hollywood. As the economy struggled after WWI, horror films provided affordable entertainment.
3. In the 1940s-50s, Universal Studios popularized monster films that referenced fears of war, science, and communism. Low-budget
The history of horror films spans over a century, beginning with early silent films like The Cabinet of Dr. Caligari (1919) and Nosferatu (1922). The 1930s saw the rise of iconic characters like Dracula, Frankenstein, and The Mummy in films such as Dracula and Frankenstein. Horror films declined in popularity during the 1950s but emerged with a new realism in the 1960s and 1970s in films like Psycho, The Exorcist, and Halloween. The 1980s featured graphic violence and monsters in films like A Nightmare on Elm Street and Hellraiser. The 1990s explored serial killers realistically in films like Se7en and referenced past genres through films like Scre
Alfred Hitchcock was an influential English film director known for mastering the suspense and psychological thriller genres. After success in the UK, he moved to Hollywood where he developed his signature directorial style of using the camera to mimic a person's gaze and create a sense of voyeurism. His films often featured ordinary people drawn into frightening situations and employed techniques like misdirecting the audience and building tension by withholding danger from characters. Hitchcock died in 1980 at age 80, having directed over 50 films and pioneered important cinematic techniques that are still used today.
The document discusses the decline of traditional entertainment like magic and music hall acts in 1950s Europe due to the rise of rock and roll music and other new forms of entertainment. The film The Illusionist, directed by Sylvain Chomet, tells the story of a struggling magician named Tatischeff trying to perform in 1959 as rock music is overtaking traditional acts. The film was based on a script written by French comedian and filmmaker Jacques Tati depicting a time of cultural change and the loss of the old entertainment world.
The document discusses the origins and development of social realism in British film and television from the 1930s-1960s. It began with documentary films showing working class lives, and was further developed through kitchen sink dramas in the 1950s exploring social issues through stories of working class people. John Osborne's influential 1956 play Look Back in Anger, set in a cramped flat, helped establish the angry young man genre. This led to socially realistic films of the 1960s adapting novels and plays about working class northern English life. Television drama also increasingly portrayed social issues through plays and soap operas like Coronation Street.
Charlie Chaplin was a legendary comedian and filmmaker. Some of his most famous and acclaimed films from 1921-1966 include The Kid, Modern Times, City Lights, and The Great Dictator. Chaplin portrayed the iconic Little Tramp character and created comedy films that explored human emotions and provided social commentary through humor and sentimentality. On his 125th birthday, Chaplin is celebrated for revolutionizing the genre of comedy and creating timeless cinematic works.
Art in Detail: KAHLO, Frida, Featured Paintings guimera
The document features several paintings by Mexican artist Frida Kahlo along with details and quotes about her work. It includes self-portraits where Kahlo depicted her physical pain and emotional turmoil, such as The Broken Column which shows her spine replaced by a fractured column after spinal surgery. Other paintings illustrated her tumultuous marriage to Diego Rivera, like The Two Fridas depicting her heartbreak after their divorce. The details provide insight into Kahlo's life experiences which strongly influenced her artwork.
The document discusses the key themes and characteristics of Romantic art and music from 1800-1850. It focuses on several prominent Romantic artists like David, Goya, Delacroix, and Gericault. Their works often featured nature, heroism, suffering, and nationalism. They also glorified the individual and took artistic license with form. The document uses their paintings to illustrate Romantic ideals of the poet-visionary and themes of the mysterious, exotic, and melodramatic.
The roots of working class representation in britishHeworthMedia1
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that working class culture and lives were typically portrayed through certain established tropes and stereotypes involving northern English settings, industrial imagery, and accents. Several key films from the 1950s/60s like Room at the Top, Saturday Night and Sunday Morning helped bring working class stories and voices to the screen. Television shows like Coronation Street and The Likely Lads also drew upon these filmic tropes to depict working class life. Representation is shaped by earlier cultural works, and tropes become ingrained over time.
BRYULLOV, Karl Pavlovich,Featured Paintings in Detailguimera
The document provides details on several paintings by Russian artist Karl Pavlovich Bryullov, including his most famous work The Last Day of Pompeii painted in 1830-33. It examines Bryullov's style and influence, noting he helped transition Russian art from neoclassicism to romanticism. Bryullov is regarded as a key figure who established himself in Rome before returning to Russia, where he taught at the Imperial Academy of Arts and developed a distinctive portrait style blending neoclassicism and realism. Details are given on several of his other major works from the 1820s-40s focusing on themes of beauty, allegory, and portraiture.
This document provides information about a film festival called "Legends of the Screen" taking place from January 8 to February 3, 2016. It will feature films and programs about great directors like Antonioni, Bergman, Coppola, De Mille, Eisenstein, Fassbinder, Godard, and Hitchcock. In addition to the films, there will be rare footage of interviews and debates between directors and film enthusiasts. The festival schedule then lists the date, time (11:00pm) and film for each event. Short biographies are also provided for each of the featured directors.
The Street of Crocodiles is a 21-minute stop-motion animation from 1986 directed by twin brothers Stephen and Timothy Quay, based on a novel by Polish writer Bruno Schulz. The animation depicts the strange and surreal world of Schulz's stories using puppets made from organic materials to create an eerie atmosphere. The Quay brothers were influenced by Central European artists and the political situation in Poland, creating a dark and mysterious film that reflects the settings and psychology of Schulz's work.
Chaplin was a pioneering filmmaker who used comedy and his films to make political statements. In his 1940 film The Great Dictator, he mocked Adolf Hitler and Benito Mussolini. During WWII, Chaplin was accused of being too neutral and not supporting the war effort enough. Later films also contained political messages criticizing capitalism and persecution. Chaplin had a long career in film and received many honors, including an honorary Academy Award for his contributions to film as an art form.
The document discusses how classic horror films from the early 20th century still influence modern horror through their innovative techniques. It notes how films like Nosferatu (1922) and Dracula (1931) established conventions for monster and vampire design that are still followed today. These early films manipulated lighting, sets, and character development to create fear rather than relying on graphic violence or special effects. As a result, classics like The Cabinet of Dr. Caligari (1920) and Frankenstein (1931) induced lasting psychological scares rather than just jump scares. Their techniques, such as expressionist sets and sympathetic monsters, remain influential models for modern horror.
The document provides details about the famous 1938 radio broadcast of "The War of the Worlds" by Orson Welles and the Mercury Theatre. It describes how the realistic portrayal of the fictional Martian invasion led some listeners to believe it was a real news broadcast, causing panic. It also discusses some of the regional reactions to the broadcast and subsequent similar radio hoaxes that have occurred over the years which also caused brief periods of public panic and confusion.
This document lists over 100 artworks created by Mexican painter Frida Kahlo between 1925 and 1954, including many self-portraits, portraits of family and friends, and paintings depicting Mexican culture and politics. The artworks span Kahlo's entire career and showcase her exploration of identity, relationships, and social/political issues through a vivid and symbolic style.
This document provides biographical details about actress Grace Kelly. It describes her upbringing in Philadelphia and early career as a model and actress in film and theater. Grace found great success in films directed by Alfred Hitchcock and won an Oscar for her role in The Country Girl. While filming in France, she met Prince Rainier III of Monaco and the two fell in love. Their meeting was arranged by a mutual friend hoping to set them up. By the end of their conversation, both Grace and Rainier were smitten with each other.
The document provides a history of the horror genre across different decades, from the 1700s to the 2000s. It details how the genre was established in the late 18th century through works like The Castle of Otranto. In the 1930s, the advent of sound films transformed horror with added dimensions of sound effects and voices. During the 1940s, wartime horror films produced in America solely entertained domestic audiences. By the 1950s, monsters became more humanized and reflected fears about developments like the atom bomb and death camps. The 1970s saw a return to big budget, psychological horror films addressing societal issues. Technical advances in the 1980s allowed for more realistic special effects and gore. While horror became overly rel
The document provides biographical information about three famous film directors: Alfred Hitchcock, Martin Scorsese, and Quentin Tarantino. It discusses that Alfred Hitchcock is renowned for films made in Hollywood like Psycho and The Birds, but that his directorial talents were evident in his early British films from the 1920s-1930s. It then summarizes Martin Scorsese's background and education in film and notes some of his directorial trademarks involve slow motion shots and use of music. Finally, it outlines Quentin Tarantino's background and early films like Reservoir Dogs and Pulp Fiction, and mentions some of his trademarks like references to cult films and shots from inside cars.
The document discusses the Golden Age of Radio from 1934-1950. It highlights how radio was intimate and brought stories and the world into people's homes. President Roosevelt used radio to directly speak to Americans through his "Fireside Chats." Radio stimulated the imagination through storytelling and a lack of visuals. Popular programs like The Jack Benny Show developed characters over time through comedy and drama. Programs like The Mercury Theatre on the Air and Quiet Please used first person narratives and sound effects to tell suspenseful stories that engaged listeners' imaginations.
15) The Hollywood Art Hello Dolly! 1969Nick Zegarac
The document discusses the film adaptation of the Broadway musical Hello Dolly! starring Barbra Streisand in the title role originally played by Carol Channing. It provides context on the musical's origins as well as the extensive production undertaken by 20th Century Fox to make the film a lavish spectacle. However, Streisand was a controversial casting choice as a young singer instead of one of the established stars who had previously played Dolly on stage like Channing.
This document provides a summary of Frida Kahlo's life and artwork in 3 sentences:
Frida Kahlo was a Mexican painter known for her many self-portraits exploring her identity and pain from a tragic bus accident as a teenager that left her injured and unable to have children. She had a tumultuous marriage to muralist Diego Rivera where they divorced but remarried, with Rivera's affairs a source of heartbreak for Kahlo depicted in some of her paintings. Kahlo created over 100 paintings primarily in a folk art style focusing on themes of identity, post-colonialism, and feminism that have made her one of the most influential artists in Latin American art.
The History of the Horror Genre and AnalysesEllie Buchan
This document discusses the history and evolution of the horror genre across different eras:
1. The roots of horror literature in the 19th century led to classics like Frankenstein and Dracula being adapted to film in the early 20th century. This set conventions for the genre including using music, camera angles, and costumes to build tension and scare audiences.
2. German Expressionist films of the 1920s-30s featured abstract, painterly styles that broke conventions and influenced Hollywood. As the economy struggled after WWI, horror films provided affordable entertainment.
3. In the 1940s-50s, Universal Studios popularized monster films that referenced fears of war, science, and communism. Low-budget
The history of horror films spans over a century, beginning with early silent films like The Cabinet of Dr. Caligari (1919) and Nosferatu (1922). The 1930s saw the rise of iconic characters like Dracula, Frankenstein, and The Mummy in films such as Dracula and Frankenstein. Horror films declined in popularity during the 1950s but emerged with a new realism in the 1960s and 1970s in films like Psycho, The Exorcist, and Halloween. The 1980s featured graphic violence and monsters in films like A Nightmare on Elm Street and Hellraiser. The 1990s explored serial killers realistically in films like Se7en and referenced past genres through films like Scre
Alfred Hitchcock was an influential English film director known for mastering the suspense and psychological thriller genres. After success in the UK, he moved to Hollywood where he developed his signature directorial style of using the camera to mimic a person's gaze and create a sense of voyeurism. His films often featured ordinary people drawn into frightening situations and employed techniques like misdirecting the audience and building tension by withholding danger from characters. Hitchcock died in 1980 at age 80, having directed over 50 films and pioneered important cinematic techniques that are still used today.
The document discusses the decline of traditional entertainment like magic and music hall acts in 1950s Europe due to the rise of rock and roll music and other new forms of entertainment. The film The Illusionist, directed by Sylvain Chomet, tells the story of a struggling magician named Tatischeff trying to perform in 1959 as rock music is overtaking traditional acts. The film was based on a script written by French comedian and filmmaker Jacques Tati depicting a time of cultural change and the loss of the old entertainment world.
This document provides a history of horror films from the 19th century to modern day, covering major works, trends, and innovations within the genre. It discusses how early horror literature influenced silent films and German expressionism in the late 19th/early 20th century. The introduction of sound in the 1930s boosted the popularity of Universal monster films starring Bela Lugosi and Boris Karloff. Trends from this era like mad scientists and Gothic settings continued influencing horror through the following decades.
1) German expressionist films of the 1920s like The Cabinet of Dr. Caligari and Nosferatu helped establish the horror genre with their dark and stylistic visuals that portrayed twisted versions of reality.
2) Early horror films were influenced by Gothic literature of the 18th-19th centuries and dealt with themes of monsters, madness, and the supernatural. Universal Studios popularized the genre in the 1930s with films like Dracula and Frankenstein.
3) Through the mid-20th century, horror evolved to address new societal fears through genres like sci-fi, psychological thrillers like Psycho, and slasher films of the 1970s-80s that featured graphic violence and serial
The document discusses the 1963 film Cleopatra and the challenges faced by its director Joseph L. Mankiewicz. Mankiewicz reluctantly took on directing Cleopatra and found the massive production challenging. The film had a troubled production beset by delays and budget issues. Cleopatra ended up being a financial disappointment for the studio despite being an epic production and starring Elizabeth Taylor. The document provides historical context on Hollywood epics of the time period and the challenges the film industry faced with the rise of television.
2) The Hollywood Art 1930 1939 Part OneNick Zegarac
This document provides an overview of the film industry in Hollywood during the 1930s. It discusses how the 1930s marked the peak of the classic Hollywood studio system, with studios producing around 52 films per year. While the films were criticized at the time for being propaganda or too flashy, they provided much-needed escapism for audiences during the Great Depression. The 1930s saw technical advancements like sound and color, as well as the rise of many iconic stars and films that have endured in our popular culture, like The Wizard of Oz and Gone with the Wind. The studios excelled at cultivating a diverse range of talent, from child stars to veteran actors, to meet audience demand.
Here are a few key points about how British national identity is portrayed in This is England:
- It shows how fragile and open to manipulation British identity can be for young, impressionable people seeking belonging. Shaun is led into the NF due to feeling ignored by society.
- Britishness is depicted as complex and contested, with the flag taking on different meanings for Shaun as his views change. It doesn't present a single, fixed definition.
- While set in the past, it explores contemporary issues of racism, extremism and disenfranchised youth that still resonate today. In this way it interrogates history rather than just displaying it.
- It takes a gritty, realistic approach rather than a
Alfred Hitchcock was a pioneering British film director and producer known as the "Master of Suspense" who helped pioneer the psychological thriller genre. Some of his most famous films include Psycho, The Birds, Vertigo, and Rear Window. He was fascinated with human psychology and frequently explored themes of fear, guilt, voyeurism, and paranoia. Hitchcock directed over 50 films spanning six decades and is considered one of the most influential filmmakers of all time.
Alfred Hitchcock was a famous English film director born in 1899 who became known as the "master of suspense". He started his career making silent films in England before moving to Hollywood in 1939. Some of his most famous and influential films include Psycho (1960), which featured the iconic shower scene, Rear Window (1954), Vertigo (1958), and The Birds (1963). Hitchcock pioneered the psychological thriller genre and became one of the most acclaimed filmmakers of all time due to his innovative techniques and ability to keep audiences in suspense.
The document discusses the rise of postmodernism in art after World War II. It notes that while the US became a dominant cultural force after the war, Abstract Expressionism remained tied to European modernism. Postmodernism is said to have begun with Andy Warhol's Brillo box works in the early 1960s. Key aspects of postmodernism identified include appropriation, popular culture, new materials, anti-heroism and irony. Several American and European artists associated with photorealism and pop art are then discussed.
Horror films have their roots in Gothic literature from the late 1700s. Early silent films adapted these stories starting in the 1890s. German Expressionist films of the 1920s, influenced by the aftermath of WWI, helped establish the horror genre. Universal Studios' 1931 films Dracula and Frankenstein were highly successful and launched the classic Universal Monsters franchise. The genre declined in the late 1940s but rebounded in the 1950s with sci-fi horror hybrids. Exploitative producers in the 1950s and 1960s used gimmicks to attract audiences. Rodger Corman made low-budget but influential films in the 1960s. The 1970s saw the rise of occult-focused and true crime-inspired
The document traces the evolution of horror films over different decades from the 1920s to the 2000s. It discusses key films that were representative of the genres and societal fears during each era. Formats included Gothic, supernatural, sci-fi influenced by radiation fears, human monsters, slasher films, usage of gore and special effects. More recent horrors explore psychological thrills and found footage styles to increase realism and terror.
The document provides a history of horror films from the 1890s to the 1970s. It summarizes the key characteristics, conventions, and notable films of each decade. In the 1890s-1920s, horror films involved mythical storylines and dreamlike imagery that scared audiences through supernatural ideas rather than graphic content. Sound and improved effects in the 1930s brought more realistic monsters. The 1940s addressed wartime fears through films about science experiments gone wrong. 1950s sci-fi horrors explored radiation effects on life. Psychological thrillers like Psycho emerged in the 1960s, reflecting social changes. Grim films of the 1970s tapped fears of children and society's moral decline through influential films like The Exorcist and Jaws.
The artist Tacita Dean is preparing a major retrospective of her work at the Museo Tamayo in Mexico City. The exhibition includes 79 works from different periods of her career that explore concepts of materiality and intangibility through diverse mediums including film, photography, and drawings. Dean discusses the development of the exhibition from its inception two years ago, emphasizing her aim to champion the 16mm film medium. She describes key works in the show that capture the "uncapturable," investigate transient everyday moments, and allow viewers to luxuriate in the magic of film.
The document discusses the evolution of horror films over different decades from the 1920s to the 2000s. Early horror films of the 1920s were dark, shadowy productions featuring vampires and monsters. In the 1930s, the introduction of sound allowed films like Dracula and Bride of Frankenstein to utilize elements like dialogue. Horrors of the 1940s in America featured human-animal hybrid characters, while the 1950s saw a rise in films about mutated creatures influenced by fears around radiation. The 1960s saw a shift to human monsters as reflected in Psycho, and slasher films emerged in the 1970s along with a focus on disturbed children. Gore and special effects became prominent in the 1980s. More intelligent horror
The document discusses the evolution of horror films over different decades from the 1920s to the 2000s. Early horror films of the 1920s were dark, shadowy productions featuring vampires and monsters. In the 1930s, the introduction of sound allowed films like Dracula and Bride of Frankenstein to utilize elements like dialogue. Horrors of the 1940s in America featured human-animal hybrid characters, while the 1950s saw a rise in films about mutated creatures influenced by fears around radiation. The 1960s saw a shift to human monsters as reflected in Psycho, and slasher films emerged in the 1970s along with a focus on disturbed children. Gore and special effects became prominent in the 1980s. More intelligent horror
The document discusses the evolution of horror films over different decades from the 1920s to the 2000s. Early horror films of the 1920s were dark, shadowy productions featuring vampires and monsters. In the 1930s, the introduction of sound allowed for more elaborate horror films like Dracula. The 1940s saw a shift to America as horrors with human-animal hybrid monsters became popular. Teenagers were the main audience in the 1950s, during which films explored fears of radiation and mutation. The 1960s saw the rise of psychological horrors where monsters took human form. Iconic films of the 1970s like The Texas Chain Saw Massacre and The Exorcist reflected contemporary fears of disturbed children and threats within the home. The
The document traces the history and evolution of the horror genre from the 1920s to present day. Early horrors from the 1920s featured mystical creatures like vampires and used darkness and costumes to scare audiences. By the 1960s, horrors depicted human monsters as audiences feared the potential for evil in people. Modern horrors continue adapting to reflect societal fears, from radiation in the 1950s to terrorism post-9/11. Throughout, the genre has increasingly depicted human rather than supernatural threats as audiences became desensitized to traditional monsters.
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Book for season of films at the BFI Southbank
39 Steps to the Genius of Hitchcock 4746
Hitchcock always made a key clarification whenever
anyone quoted his famous dictum,“Actors are cattle.”
What he really said, Hitch claimed, was that actors should
be treated like cattle.Well, cattle in most countries are fed
and allowed to graze until being led to the abattoir. So are
Hitchcock’s actors so many lambs to the slaughter, too?
Hitch took a fetishist’s delight in dressing up his blonde
leading ladies over the years so that they started to seem like
different versions of each other,Anny Ondra blending into
the cooler Madeleine Carroll, white-hot Grace Kelly morphing
into the existentially confused Kim Novak and then into
the more brittle Tippi Hedren.Yet they are distinct, and his
handling of them is distinct, even if he sometimes led them
into repeating certain tropes from his own past.The last time
I saw Vertigo, I noticed that when Novak is playing Madeleine
Elster, she often repeats exactly the halting vocal patterns of
Joan Fontaine in Rebecca and Suspicion. Hitch himself professed
to be slightly bewildered with Novak’s Method approach to her
role, where she wanted to think out every moment. It seems
clear that Hitchcock was not a fan of actorly autonomy.
The green Fontaine gives such a fine performance in
Rebecca partly because the other more experienced British
actors in the cast (Laurence Olivier among them) dismissed
and ignored her off camera as well as on. Hitchcock would
knowingly foster a situation like that on his sets if it served
the needs of his film, but by the 1950s he had no patience
with either Novak’s worries or with the cerebral gymnastics
of Montgomery Clift in I Confess, a performance where every
single moment has been chewed on in such a self-conscious
way that finally all you see is a beautiful actor acting up
a storm beneath his mannered guises of underplaying
or trying to be lifelike, so that he’s an awfully neurotic-
seeming priest, even though he’s supposed to be totally
repressed. Clift makes the feelings of this man so evident
underneath the repression that there are certain close-
ups where they glare like a neon sign; this is not the kind
of showy performing that Hitchcock generally favoured.
During Hitchcock’s silent period, his actors seem left to
their own devices, though he does show an alertness to the
strange carnality of Anny Ondra in The Manxman, which spills
over into his first talking feature, Blackmail.The surviving
sound test for Blackmail shows Hitch’s way with actresses:
he mercilessly teases Ondra.“Have you been a bad woman
or something?” he asks, as she fidgets happily.“But you’ve
slept with men,” he insists, and she flutters and cries,“Oh,
no!” in a very coquettish, very worldly fashion (Ondra was
Czech, not British).“Stand in your place, otherwise it will
not come out right, as the girl said to the soldier,” he jokes,
while Ondra puts her hand to her mouth and giggles away
from him. Hitchcock could be a put-on comic and a dirty
I Confess (1953, opposite)
Hitchcock confers with Montgomery Clift. He
had little patience for Clift’s Method approach.
Blackmail (1929, below)
Hitchcock encouraged Anny Ondra’s boldly
sexual performance.
Step eleven:
in the act
By Dan callahan
39 Steps to the Genius of Hitchcock 5352
Step twelve:
The RighT Women
By Camille Paglia
The Birds (1963, top)
Suzanne Pleshette (left) and Tippi Hedren
(right) stand frozen beneath a full moon.
To Catch a Thief (1955, above)
Grace Kelly, wearing the diamond necklace
she invites John Robie (Cary Grant) to touch.
Vertigo (1958, opposite)
Kim Novak as Madeleine.
Psycho (1960, below)
Marion Crane (Janet Leigh) in one of her
formidably constructed brassieres.
With a spate of new movies being made about Alfred
Hitchcock, charges about his reputed misogyny will soon be
back in the air.There is abundant evidence of Hitchcock’s
insistence on total and sometimes autocratic control of his
productions as well as of his leading ladies. But misogyny is a
hopelessly simplistic and reductive term for the passionately
conflicted attitude of major male artists towards women.
Art-making is not just a formal exercise but a quest for
identity, a strategy of defence against turbulent reality.
Hitchcock’s view of women is not politically correct. But
his haunting films continue to gain power over time because
of the profound depth and searing truth of his emotional
world.What he records is the agonised complexity of men’s
relationship to women – a roiling mass of admiration,
longing, neediness and desperation. Heterosexual men
instinctively know that women have magic. Gay men know
it and, through high fashion, ingeniously enhance it. Drag
queens heartily mimic it. Most heterosexual women keenly
observe, monitor and competitively evaluate the magic of
other women. Only feminist theorists, evidently, fail to see
that magic – or they contemptuously dismiss it as a product
of social conditioning and commercial manipulation.
Hitchcock’s great films of the 1950s and early 1960s show
the tension between men’s fear of emotional dependency
and their worship of women’s beauty, which floods the
eye and enforces an erotic response over which a man has
ethical but not conceptual control. Beautiful women are a
fascinating conflation of nature and art.They often have
an elusive, dreamy apartness, suggesting a remote inner
realm to which a man can claim only momentary access. It
is a theme in Botticelli’s Birth ofVenus, Raphael’s Madonnas,
and Leonardo’s Mona Lisa. It can be seen in more sexually
perverse form in Rossetti’s florid somnambules and the
drugged odalisques of Ingres and Manet. Beautiful young
men too may have that reserve and distance, as captured
from Greek art to Wilde’s The Picture of Dorian Gray. Jean
Cocteau saluted Wilde in declaring,“The privileges of beauty
are enormous.” Similarly,Tennessee Williams’s Mrs Stone
says,“People who are very beautiful make their own laws.”
The two poles of Hitchcock’s erotic vision are woman as
objet d’art and woman as devouring mother. One pleasures the
eye, and the other assaults it. Hitchcock warned Janet Leigh
before Psycho,“My camera is absolute.” His camera habitually
frames woman as a gorgeous cult object whom he loves to
dress and drape.We know from Edith Head that Hitchcock
designed Grace Kelly’s clothes for RearWindow; everything was
already specified, from colour to fabric, in the script. He chose
Kim Novak’s magnificently varied clothing for Vertigo, forcing a
now classic grey suit on her that she hated. He took Eva Marie
Saint to Bergdorf Goodman’s, sat with her as mannequins
39 Steps to the Genius of Hitchcock 1716
Much of Hitchcock’s early inspiration came from silent
filmmakers who barely survived the industry’s conversion to
sound at the end of the 1920s. No one now remembers the
unsuccessful talkies (two each) made by the great pioneers
D.W. Griffith and Victor Sjöström; F.W. Murnau died in 1931
without having made a fully synchronised film.What if
Hitchcock’s own career had ended, for whatever reason,
before he made Britain’s first talking feature, Blackmail, in
1929? Would he still, like them, have a significant place in
film history? Probably not.Would he deserve to?Yes.
Compared with men like those, his directing career
in silent cinema had been brief: four years and ten films,
including the silent version of Blackmail. Nor did any of
these films, unlike theirs, make an international impact at
the time.Those that reached America were received with
condescension or outright scorn. For Variety, his third feature
The Lodger was“a trashy commercial film worthless for‘art’
audiences and for the generality of American fans alike”, while
his seventh, The Farmer’sWife, was a“meritless” picture whose
direction was simply“amateurish”.America was ready to
welcome more obviously exotic films from continental Europe,
but British films had a continual struggle. Reviewers failed
to make any distinction between Hitchcock and his British
contemporaries, let alone to recognise that his use of the silent
medium in these films was, in its sophistication, at least in
the same league as the bright young Hollywood directors of
the time such as John Ford, Howard Hawks and King Vidor.
Even in America, Hitchcock’s silent output is now
becoming more fully known and celebrated than theirs,
but several big things had to happen in order to make this
possible. In the mid-1930s he began to make an international
impact with thrillers like The 39 Steps, and this encouraged,
crucially, the preservation of his work by the film-archive
movement that was just getting seriously under way. His move
to Hollywood in 1939 raised him to a new level of celebrity,
and his subsequent films would become central texts in
the spectacular expansion of writing and teaching about
cinema that took place from the 1960s onward – which in
turn created a growing interest in his early work, including
the silent films. Finally,VHS and then DVD allowed these
films to become more accessible; the strong Hitchcock
market supplied an incentive to restore and present them
with maximum care, the BFI’s restoration of Hitchcock’s
nine surviving silent films being the crowning point of this.
Had Hitchcock made no sound films, a few of the
silent ones might survive in archival obscurity, providing
material for the occasional article in specialist journals
about a career of unfulfilled promise. From today’s
perspective, they have a double interest: as harbingers of
the great works of Hitchcock’s maturity and as eloquent
(Top)
The young Alfred Hitchcock, photographed in
his breakthrough year, 1926.
(Above)
The press-book cover for Hitchcock’s overlooked
silent comedy ‘The Farmer’s Wife’ (1928).
The Lodger (1926, opposite)
Ivor Novello emerges dramatically through the
London fog.
Step three:
The evoluTion of sTyle
By Charles Barr
STEPS TO
39
Edited by James Bell
ISBN 978-1-84457-534-3
£12
39STEPST0THEGENIUSOFHITCHCOCKEditedbyJamesBell
BFI COMPENDIUM
Fear of disorder, fear of authority – Alfred Hitchcock
set out to “put the audience through it”while keeping
his own less universal fears off-screen.“Fear of being
laughed at for his eccentric artistic interests, fear of
seeming pretentious or boring”– this legacy of an East
End upbringing, according to his authorised biographer
John RussellTaylor, explained Hitchcock’s reluctance
to discuss his artistic awakening with any candour.
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