The camera lies : acting for Hitchcock / Dan Callahan

By:

Callahan, Dan, 1977-

Language: eng Publication details: New York : Oxford University Press, 2020Description: xviii, 251 pages : ill. ; 25 cmISBN:

9780197515327
0197515320

Subject(s):

LOC classification:

PN 1998.3 C156c 2020

Contents:

Naughty boys and The pleasure garden -- The mountain eagle and The lodger -- Six more in silence : The ring, Downhill, The farmer's wife, Easy virtue, Champagne, The Manxman -- Blackmail -- Juno and the Paycock, Murder!, Mary, Elstree calling, The skin game -- Rich and strange, Number 17, Waltzes from Vienna -- The man who knew too much, The 39 steps, Secret agent, Sabotage -- Young and innocent, The lady vanishes, Jamaica Inn -- Rebecca, Foreign correspondent, Mr. and Mrs. Smith, Suspicion -- Saboteur, Shadow of a doubt, Lifeboat, Spellbound -- Notorious, The Paradine case, Rope, Under capricorn, Stage fright -- Strangers on a train, I confess -- Dial M for murder, Rear window, To catch a thief, The trouble with Harry, The man who knew too much -- The wrong man, Vertigo, North by northwest, Psycho, The birds, Marnie -- Torn curtain, Topaz, Frenzy, Family plot, AFI award.

Summary: Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious (1946) to Janet Leigh in Psycho (1960). Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality. Detailing the fluidity of acting - both what it means to act on film and how the process varies in each actor's career - Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could "do nothing well" - but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation

Tags from this library: No tags from this library for this title. Log in to add tags.

Average rating: 0.0 (0 votes)

Holdings
Item type	Current library	Home library	Collection	Shelving location	Call number	Copy number	Status	Date due	Barcode
Libro	Biblioteca Juan Bosch	Biblioteca Juan Bosch	Humanidades	Humanidades (4to. Piso)	PN 1998.3 C156c 2020 (Browse shelf(Opens below))	1	Available		00000149929

Browsing Biblioteca Juan Bosch shelves, Shelving location: Humanidades (4to. Piso), Collection: Humanidades Close shelf browser (Hides shelf browser)

Previous								Next
Previous	PN 1998.3 B942A 2013 Luis Buñuel, novela /	PN 1998.3 B942c 2015 Conversaciones con Luis Buñuel : vivo, por eso soy feliz /	PN 1998.3 B974F 2012 Tim Burton /	PN 1998.3 C156c 2020 The camera lies : acting for Hitchcock /	PN 1998.3 C182K 2010 The futurist : the life and films of James Cameron /	PN 1998.3 C268i 2005 Jean Renoir : interviews /	PN 1998.3 C348y 2011 Yo también amo el cine /	Next

Naughty boys and The pleasure garden --
The mountain eagle and The lodger --
Six more in silence : The ring, Downhill, The farmer's wife, Easy virtue, Champagne, The Manxman --
Blackmail --
Juno and the Paycock, Murder!, Mary, Elstree calling, The skin game --
Rich and strange, Number 17, Waltzes from Vienna --
The man who knew too much, The 39 steps, Secret agent, Sabotage --
Young and innocent, The lady vanishes, Jamaica Inn --
Rebecca, Foreign correspondent, Mr. and Mrs. Smith, Suspicion --
Saboteur, Shadow of a doubt, Lifeboat, Spellbound --
Notorious, The Paradine case, Rope, Under capricorn, Stage fright --
Strangers on a train, I confess --
Dial M for murder, Rear window, To catch a thief, The trouble with Harry, The man who knew too much --
The wrong man, Vertigo, North by northwest, Psycho, The birds, Marnie --
Torn curtain, Topaz, Frenzy, Family plot, AFI award.

Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious (1946) to Janet Leigh in Psycho (1960). Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality. Detailing the fluidity of acting - both what it means to act on film and how the process varies in each actor's career - Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could "do nothing well" - but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation

There are no comments on this title.

to post a comment.