By Murray Pomerance
With a pointy eye for social aspect and the pressures of sophistication inequality, Alfred Hitchcock delivered to the yankee scene a perspicacity and analytical shrewdness remarkable in American cinema.
Murray Pomerance works from a foundation in cultural research and a close wisdom of Alfred Hitchcock's movies and creation innovations to discover how the US of the Forties, Nineteen Fifties, and Nineteen Sixties is printed and significantly commented upon in Hitchcock's paintings. Alfred Hitchcock's America is stuffed with attractive information that convey new mild to Hitchcock's process and works. the yankee "spirit of place," is obvious right here in mild of the great American character, American values in a shopper age, social classification and American social shape, and the attribute American marriage. The book’s research levels throughout a big selection of movies from Rebecca to Family Plot, and examines intensive the positioning sequences, characterological varieties, and complicated social expectancies that riddled American society whereas Hitchcock thrived there.
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Extra info for Alfred Hitchcock's America
Washington is central – along with a satellite small town – in Strangers on a Train (1951). In Vertigo (1958), Hitchcock takes source material (by Pierre Boileau and Thomas Narcejac) originally set in Paris and Marseilles and transports the locale to the city and surrounding region of San Francisco, with a marvelous mise-en-scène that places Scottie Ferguson’s search for the elusive Madeleine Elster and the ghost who haunts her, Carlotta Valdes, in such spots as the Palace of the Legion of Honor, the underside of the Golden Gate Bridge at Fort Point, the Mission Dolores, Ernie’s restaurant, and the ﬂorist Podesta Baldocchi near Union Square, not to mention the Big Basin Redwood Forest and the old Spanish mission at San Juan Bautista (at which considerable footage was shot, some with the inclusion through a matte process of a bell tower important to the narrative).
Courtesy Academy of Motion Picture Arts and Sciences. 36 HITCHCOCK’S AMERICAN SCAPES Atomic Modernity If in Saboteur Hitchcock had offered inspired but abbreviated sketches of domestic space in America – Barry’s chum Ken Mason’s mother’s tiny bungalow in Los Angeles, its rear kitchen door backing onto that of the busy-body next-door neighbor; Martin’s abode in the woods; the villainous Tobin’s sprawling ranch territory and cozy poolside retreat; the twofaced Mrs. Sutton’s grandiose mansion in the heart of New York – it remained for him to develop a detailed picture of American family and domestic life in ﬁlms that would render more prolonged and complex visions of the culture.
Jeff is not the only spy here. A pair of rooftop sunbathers (Stephanie Grifﬁn and Joy Lansing) are being watched from an intruding helicopter as the ﬁlm begins. 18 It is not uninteresting that Paramount’s VistaVision process premiered with White Christmas on October 14, 1954, ten weeks after Rear Window was opened. This process was Paramount’s answer to the technical innovation of CinemaScope, proprietary to Twentieth Century–Fox and a signiﬁcant factor in drawing audiences to theaters in the 1950s.