| 000 | 02275cam a2200277zu 4500 | ||
|---|---|---|---|
| 001 | 88847012 | ||
| 003 | FRCYB88847012 | ||
| 005 | 20250107115320.0 | ||
| 006 | m o d | ||
| 007 | cr un | ||
| 008 | 250107s2015 fr | o|||||0|0|||eng d | ||
| 020 | _a9783035307504 | ||
| 035 | _aFRCYB88847012 | ||
| 040 |
_aFR-PaCSA _ben _c _erda |
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| 100 | 1 | _aMcCarron, Bernard | |
| 245 | 0 | 1 |
_aThe Paradigm Case _bThe Cinema of Hitchcock and the Contemporary Visual Arts _c['McCarron, Bernard'] |
| 264 | 1 |
_bPeter Lang _c2015 |
|
| 300 | _a p. | ||
| 336 |
_btxt _2rdacontent |
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| 337 |
_bc _2rdamdedia |
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| 338 |
_bc _2rdacarrier |
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| 650 | 0 | _a | |
| 700 | 0 | _aMcCarron, Bernard | |
| 856 | 4 | 0 |
_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88847012 _qtext/html _a |
| 520 | _aWith the migration of cinema into the art gallery, artists have been turning, with remarkable regularity and ingenuity, to Alfred Hitchcock-related images, sequences and iconography. The world of Hitchcock’s cinema – a classical cinema of formal unities and narrative coherence – represents more than the spectre of a supposedly dead art form: it transcends its own filmic and institutional contexts, becoming an important audio-visual lexicon of desire, loss, mystery and suspense. Through a detailed study of the Hitchcock-related work of artist-filmmakers Matthias Müller and Christoph Girardet, Johan Grimonprez, Pierre Huyghe, Douglas Gordon and Atom Egoyan, this book facilitates a dialogue between the creative appropriation of Hitchcock’s films and the cinematic practices that increasingly inform the wider field of the contemporary visual arts. Each chapter is structured around a consideration of how the artwork in question has reconfigured or ‘remade’ key Hitchcockian expressive elements and motifs – in particular, the relationship between mise en scène and the mechanics of suspense, time, memory, history and death. In a career that extended across silent and sound eras as well as the British, European and Hollywood industries, Hitchcock’s film œuvre can be seen as a history of the cinema itself. As the work of these contemporary artist-filmmakers shows, it was also a history of the future, a paradigm case par excellence. | ||
| 999 |
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