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Sto caricando le informazioni... Vertigo: The Making of a Hitchcock Classic (originale 1998; edizione 1998)di Dan Auiler (Autore)
Informazioni sull'operaVertigo: The Making of a Hitchcock Classic di Dan Auiler (1998) Sto caricando le informazioni...
Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. I was hoping for more discussion about the film itself, its plot, its quirks, but instead this really gets into the nitty-gritty of the filming process - if you want to know what footage was shot on which day and how many takes, this is the book for you. It's clear the that author REALLY cares about this movie, but he doesn't really analyze it. Oh well. Still interesting! nessuna recensione | aggiungi una recensione
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Alfred Hitchcock's 1958 psychological masterpiece Vertigo - in which obsessive ex-cop James Stewart pursues troubled loner Kim Novak through the streets of San Francisco and up and down the coast of California - is one of the most dissected, discussed, and revered films of all time.
Now, for the first time, the story of this remarkable film is revealed. Writing with the full cooperation of the director's family, many crew members, and the film's restoration team, film historian Dan Auiler offers an in-depth re-creation of the making of Hitchcock's signature thriller. Through an extensive review of early script drafts, detailed interviews with the participants, and many archival materials, Auiler leads us down the winding path that brought this spellbinding and desperately romantic film to the screen. Scores of production notes, sketches, and storyboards - some in Hitchcock's own hand - are included, along with a generous array of stills from the film and its restoration. Non sono state trovate descrizioni di biblioteche |
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It's a very linear volume, following pre-production, production, post-production, and legacy, with the longest section on the second of these. Frankly, most readers are going to be best served by skim-reading and choosing to focus on certain sections, because the most interesting material tends to show up in a handful of pages: the development of the original book into the early screenplays, the location scouting for a mission with a tower, Kim Novak's thoughts on her grey suit, Jimmy Stewart's notes on an early cut of the film. Only die-hards or quick readers will really want to read all the minutiae; not that it's terribly detailed, but it doesn't always enhance your appreciation of the film - sometimes, especially during the production section, it can just feel like data as opposed to the narrative. Some of the book is a little outmoded, too; I didn't mind the appendix talking to the team behind the 1996 restoration, but that's obviously no longer very relevant.
I don't mean to sound negative about this book: it's exactly the sort of thing I went looking for. I just want potential readers to understand its limitations; pop culture studies, and mainstream literature on films, was very different 20 years ago. This is the perfect sort of book for a teenager or college student who is just getting into the "making of" classic movies; for more advanced readers, it only offers one, specifically production-oriented approach. It does work wonderfully in tandem with Charles Barr's intensely analytical monograph on the film for the BFI Film Classics series, and using selections from both works is proving the perfect solution for me and my students. ( )