scholarly journals What can Hitchcock teach us about psychopathology? Part 2: Voyeurism and obsession in Rear Window (1954)

2020 ◽  
Vol 1 ◽  
pp. 100027
Author(s):  
Dinesh Bhugra
Keyword(s):  
Rear Window

Active procedures to control the flow past the Ahmed body with a 25° rear window

2011 ◽  
Vol 1 (3/4) ◽  
pp. 299 ◽  
Author(s):  
Charles Henri Bruneau ◽  
Emmanuel Creuse ◽  
Delphine Depeyras ◽  
Patrick Gillieron ◽  
Iraj Mortazavi
Keyword(s):  
Rear Window ◽  
Flow Past ◽  
Ahmed Body

Flow manipulation around the Ahmed body with a rear window using passive strategies

2007 ◽  
Vol 335 (4) ◽  
pp. 213-218 ◽  
Author(s):  
Charles-Henri Bruneau ◽  
Patrick Gilliéron ◽  
Iraj Mortazavi
Keyword(s):  
Rear Window ◽  
Passive Strategies ◽  
Flow Manipulation ◽  
Ahmed Body

scholarly journals "La ventana indiscreta" de Alfred Hitchcock como Cineromanzo. La adaptación como transmedialización

2017 ◽  
pp. 110-124
Author(s):  
Jan Baetens ◽  
Domingo Sánchez-Mesa
Keyword(s):  
Women's Magazines ◽  
Visual Language ◽  
Film Adaptations ◽  
Close Reading ◽  
Creative Industry ◽  
Rear Window ◽  
Italian Film

A modo de expansión y aplicación del marco teórico y metodológico sobre inter- y transmedialidad propuesto por los autores en un artículo previo en Tropelías (n.27), este ensayo explora, tanto desde una perspectiva histórica como narratológica, el género del cine-foto-novela o cineromanzo, un tipo tremendamente popular, pero de escasa vida y ampliamente olvidado, de “cine narrado” o “cine impreso” de finales de los 50 y comienzos de los 60. Adoptando el lenguaje visual de la fotonovela así como las innumerables constricciones del contexto de publicación de revistas para mujeres de la época, el cineromanzo parece, a primera vista, un caso típico de lo que falla cuando las adaptaciones fílmicas se ven obligadaa a ser tan “fieles” como sea posible. En la práctica, sin embargo, el cine-foto-novela demostró ser capaz de generar diversas innovaciones. A través de un close-reading del cineromanzo de La ventana indiscreta, de Alfred Hitchcock (1954), se trata de demostrar esas capacidades creativas de una industria despreciada, al tiempo que se ilustra un proceso de transmedialización popular que precede al tiempo de las narrativas transmediales de última generación. Expanding on the theoretical and terminological framework on inter-  and transmediality proposed by the authors in a previous Tropelias contribution (n.27), this essay explores in a both historical and narratological perspective the genre of the film photo novel or cineromanzo, a widely popular, but short-lived nowadays largely forgotten case of “narrated cinema” or “cinema in print” of the late 1950s and early 1960s. Adopting the visual language of the photo novel as well as the countless constraints of the publication context of the women’s magazines of that day, the film photo novel seems at first sight a typical example of what goes wrong when film adaptations are obliged to be as “faithful” as possible. In practice however, the film photo novel proved capable of various innovations. This article offers a close-reading of the Italian film photo novel of Hitchcock’s Rear Window (1954), which demonstrates the creative possibilities of a despised creative industry while illustrating a popular transmedialization process which comes before the last generation transmedial narratives.

Amuse-Bouche

Frenzy ◽  
2018 ◽  
pp. 7-10
Author(s):  
Ian Cooper
Keyword(s):  
Science Fiction ◽  
Rear Window ◽  
American Gothic ◽  
Film Maker

This chapter provides a background of Alfred Hitchcock, whose remarkable achievements as a film-maker may be unmatched. As well as the numerous accolades, a number of Hitchcock films have proved unusually influential. Consider the chase thrillers such as The 39 Steps (1935) and North by Northwest (1959), the claustrophobic chamber pieces Rope (1948) and Rear Window (1954), the hallucinogenic romance of Vertigo (1958), the American Gothic of Psycho (1960), and the apocalyptic science fiction of The Birds (1963). While Hitchcock's status as one of the great film artists is unassailable and his reputation increases, there have always been dissenters. Traditionally, the case against Hitchcock is that he is little more than a popular entertainer, an observation he did little to counter, what with his use of genre and big stars as well as his eager adoption of the role of clownish showman. This book focuses on Hitchcock's penultimate film Frenzy (1972).

Introduction

2020 ◽  
pp. 1-12
Author(s):  
Bruce Isaacs
Keyword(s):  
Twentieth Century ◽  
Sound Design ◽  
Rear Window ◽  
Philosophical Approach ◽  
Moving Image ◽  
New Hollywood ◽  
Mise En Scene ◽  
Film Style ◽  
The Relationship ◽  
Lengthy Discussion

Hitchcock’s clearest articulation of a pure cinema method appears in a lengthy discussion with François Truffaut in 1962. Discussing landmark works such as Rear Window and Vertigo, Hitchcock frames pure cinema as a philosophical approach to film style. It is both medium-specific and part of a larger narrative describing the evolution of moving image art forms in the twentieth century. The introduction situates the relationship between Hitchcock and his “imitators,” filmmakers who reflexively evolved the pure cinema method. Brian De Palma emerges in the 1970s as the Hitchcockian imitator par excellence, the New Hollywood director who strove to take Hitchcock’s pure cinematic method further in terms of mise en scène, montage, and sound design.

Alfred Hitchcock’s Rear Window

2020 ◽  
pp. 255-270
Author(s):  
Beatrice Kohler
Keyword(s):  
Rear Window
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