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This book offers a new approach to film studies by showing how our brains use our interpretations of various other films in order to understand Alfred Hitchcock’s Vertigo. Borrowing from behavioral psychology, cognitive science and philosophy, author Robert J. Belton seeks to explain differences of critical opinion as inevitable. The book begins by introducing the hermeneutic spiral, a cognitive processing model that categorizes responses to Vertigo’s meaning, ranging from wide consensus to wild speculations of critical “outliers.” Belton then provides an overview of the film, arguing that different interpreters literally see and attend to different things. The fourth chapter builds on this conclusion, arguing that because people see different things, one can force the production of new meanings by deliberately drawing attention to unusual comparisons. The latter chapters outline a number of such comparisons—including avant-garde films and the works of Stanley Kubrick and David Lynch—to shed new light on the meanings of Vertigo.
When Richard Schickel stated unequivocally in 1972 that "We're living in a Hitchcock world, all right", he did so without even mentioning the film that now stands at the top of the Sight & Sound Greatest Films of All Time poll: Vertigo. That omission needs to be redressed when we think about the Hitchcock world we live in now. Haunted by Vertigo: Hitchcock's Masterpiece Then and Now gathers essays that offer a variety of approaches to what many consider to be Hitchcock's signature film, one that shows him operating at full strength as a cinematic artist portraying some of the defining elements of modern life: romantic exhilaration and anxiety, the attractiveness and elusiveness of love, and the interpenetration of pain, pleasure, life, and death in our psyche and our culture. The pieces in this volume explore numerous aspects of how, broadly speaking, Vertigo is about characters haunted by memories and desires; how the film itself is haunted by numerous literary and cinematic fore- bearers; and how it continues to haunt not only filmmakers but artists working in other media as well. Essays that concentrate on formative or interpretive contexts of the film, including Greek mythology, early German cinema, film noir, an ensemble of (mostly) French writers and filmmakers, andmodern and postmodern art are complemented by others that present close readings of hidden details in the film, its use of multiple gazes that underscore its meaning and drama, the darker sides of even gestures of love and hospitality, and how the film embodies Hitchcock's "late style". Taken together the essays in the volume reinforce how Vertigo is, like the majestic trees visited by the two main characters in the film, sempervirens – an enduring masterpiece of then, now, and, we can safely say, the future.
Impossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships. Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.
This one-of-a-kind literary and conceptual experiment does anthropology differently—in all the wrong ways. No field trips. No other cultures. This is a personal journey within anthropology itself, and a kind of love story. A critical, candid, hilarious take on the culture of academia and, ultimately, contemporary society. Stuck Moving follows a professor affected by bipolar disorder, drug addiction, and a stalled career who searches for meaning and purpose within a sanctimonious discipline and a society in shambles. It takes aim at the ableist conceit that anthropologists are outside observers studying a messy world. The lens of analysis is reversed to expose the backstage of academic work and life, and the unbecoming self behind scholarship. Blending cultural studies, psychoanalysis, comedy, screenwriting, music lyrics, and poetry, Stuck Moving abandons anthropology’s rigid genre conventions, suffocating solemnity, and enduring colonial model of extractive knowledge production. By satirizing the discipline’s function as a culture resource for global health and the neoliberal university, this book unsettles anthropology’s hopeful claims about its own role in social change.
Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work. This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.
A groundbreaking account of the origins, development, and enduring significance of Christian doctrine, explaining why it remains essential to the life of Christian communities. Noting important parallels between the development of scientific theories and Christian doctrine, Alister E. McGrath examines the growing view of early Christianity as a 'theological laboratory'. We can think of doctrinal formulations as proposals submitted for testing across the Christian world, rather than as static accounts of orthodoxy. This approach fits the available evidence much better than theories of suppressed early orthodoxies and reinforces the importance of debate within the churches as a vital means of testing doctrinal formulations. McGrath offers a robust critique of George Lindbeck's still-influential Nature of Doctrine (1984), raising significant concerns about its reductionist approach. He instead provides a more reliable account of the myriad functions of doctrine, utilising Mary Midgley's concept of 'mapping' as a means of coordinating the multiple aspects of complex phenomena. McGrath's approach also employs Karl Popper's 'Three Worlds', allowing the theoretical, objective, and subjective aspects of doctrine to be seen as essential and interconnected. We see how Christian doctrine offers ontological disclosure about the nature of reality, while at the same time providing a coordinating framework which ensures that its various aspects are seen as parts of a greater whole. Doctrine provides a framework, or standpoint, that allows theological reality to be seen and experienced in a new manner; it safeguards and articulates the core vision of reality that is essential for the proper functioning and future flourishing of Christian communities.
One of the big myths and metaphors of the postmodern age is the Cyborg, which includes a large amount of different meanings. The Cyborg often expresses the transformation and extension of the body and exemplifies a postmodern range of technical determinism and human comprehension. In this perspective the Cyborg is no longer a concept of science fiction, technical apocalypse or cyberpunk, but more a construct that highlights the relation of modern media technologies within our every day culture; as well as the body and mind of spectators and users of these media systems. We are connected with a variety of poly-sensual media systems, and we use its potential for communication, multiplying knowledge, spatial and temporal orientation or aesthetic experience. Therefore we are a kind of Cyborgs, connected to media by complex multimodal interfaces. This volume monitors and discusses the relation of postmodern humans and media technologies and therefore refers to Cyborgs, interfaces and apparatuses within the perspective of an autonomous image science.
Ushering in a new era of confessional music that spoke openly about experiences of trauma, depression, and self-loathing, Nine Inch Nails' seminal album, The Downward Spiral, changed popular music forever—bringing transgressive themes of heresy, S&M, and body horror to the masses and taking music technology to its limits. Released in 1994, the album resonated across a generation, combining elements of metal, industrial, synth-pop, and ambient electronica, and going on to sell over four million copies. Now, Into the Never explores the creation and cultural impact of The Downward Spiral, one of the most influential and artistically significant albums of the twentieth century. Inspired by David Bowie's Low and Pink Floyd's The Wall, the album recounts one man's disintegration as he descends into nihilism and nothingness. Blurring the lines between autobiography and concept album, creation and decay, it is also the story of Trent Reznor (who is Nine Inch Nails) as he pushed himself to the edge of the abyss, trapped in a cycle of addiction and self-destruction. The Downward Spiral also presents a reflection of America and a wider culture of violence, connecting the Columbine High School shooting, the infamous Manson family murders, and the aftermath of Vietnam and the Gulf War. Featuring new interviews with collaborators and artists inspired by the album, Into the Never sets The Downward Spiral in the context of music of the era and brings the story up to date, from Reznor's recovery to his reinvention as an Oscar-winning soundtrack artist.
The most comprehensive volume ever published on Alfred Hitchcock, covering his career and legacy as well as the broader cultural and intellectual contexts of his work. Contains thirty chapters by the leading Hitchcock scholars Covers his long career, from his earliest contributions to other directors’ silent films to his last uncompleted last film Details the enduring legacy he left to filmmakers and audiences alike
About Alfred Hitchcock's following movies: "The lodger", "Murder!", "The thirty-nine steps", "Shadow of a doubt" and "Psycho".