Vertigo读书介绍
| 类别 | 页数 | 译者 | 网友评分 | 年代 | 出版社 |
|---|---|---|---|---|---|
| 书籍 | 104页 | 2012 |
| 定价 | 出版日期 | 最近访问 | 访问指数 |
|---|---|---|---|
| $ 16.89 | 2012-09-01 … | 2022-03-27 … | 7 |
Vertigo (1958) is widely regarded as not only one of Hitchcock's best films, but one of the greatest films of world cinema. Made at the time when the old studio system was breaking up, it functions both as an embodiment of the supremely seductive visual pleasures that 'classical Hollywood' could offer and - with the help of an elaborate plot twist - as a laying bare of their dangerous dark side. The film's core is a study in romantic obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice cool but vulnerable, Stewart - in the darkest role of his career - genial on the surface but damaged within. Although it can be seen as Hitchcock's most personal film, Charles Barr argues that, like Citizen Kane, Vertigo is at the same time a triumph not so much of individual authorship as of creative collaboration. He highlights the crucial role of screenwriters Alec Coppel and Samuel Taylor and, by a combination of textual and contextual analysis, explores the reasons why Vertigo continues to inspire such fascination. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Barr looks afresh at Vertigo alongside the recently-rediscovered 'lost' silent The White Shadow (1924), scripted by Hitchcock, which also features the trope of the double, and at the acclaimed contemporary silent film The Artist (2011), which pays explicit homage to Vertigo in its soundtrack.
作者简介作者简介
查尔斯•巴尔（Charles Barr），曾为东英吉利大学电影学教授。现为爱尔兰国立高威大学约翰•休斯顿电影与数字媒介中心客座教授，他还是在线刊物《电影：批评期刊》（Movie: a Journal of Film Criticism）以及美国学术期刊《希区柯克年报》（The Hitchcock Annual）的编委会成员。他的其他专著还有Ealing Studios和English Hitchcock等。
译者简介
徐展雄，编剧、影评人。译著除本书外，还有《黑色电影》《重访希区柯克》，以及即将出版的《电影中的表演》（北京大学出版社）。
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