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Charles Barr, Vertigo
British Film Institute Film Classics |
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| Obsession, pp. 7-20. The entrance of Kim Novak in the film - how shot and edited the gaze, in relation to Laura Mulvey’s theory three forms of gaze: character, camera/director, audience how this affects us on second viewing connection of Hitchcock and Elster, etc. [skip the comparison between Hitchcock and Michael Powell] Construction, pp. 21-31 collaborative nature of filmmaking, and Hitchcock’s collaborators on Vertigo Bernard Herrmann’s score the screenplay: original source: D’entre les Morts the screenwriters: Maxell Anderson, Alec Coppel, Samuel Taylor - Taylor’s contributions: - - Midge character - - Judy’s confessional flashback Vera Miles Illusion, pp. 32-64 Vertigo as the dream of a dying man? - possible parallel to story by Ambrose Bierce - "oneiric narrative": parallel to Rear Window Scottie as a “free floating” character James Stewart’s age & star persona Vertigo's quality of "rootedness" Hitchcock’s concern for surface realism in settings Parallel structure in scenes and segments: - three “false-ending” scenes (Scottie’s second thoughts) - interplay of dialogue and non-dialogue scenes - point of view shooting in dialogue and non-dialogue scenes "creative geography" in car scenes Madeleine-Judy’s exhibitionism uncanny elements (McKittrick Hotel, etc.) “power and freedom” as theme & motif “pivotal scene” in Scottie’s apartment after Madeleine’s leap into the Bay “doubleness” of the Madeleine role and Kim Novak’s performance Revelation, pp.65-80 the confession scene: its function? is it necessary? |
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