In this thesis I investigate the nature of noir subjectivity, and the degree to which it can be described as heroic. To investigate these issues, I have chosen to illustrate my argument by analysing my novel, Viper, and two films that renew the noir cycle at different socio-political crossroads in America: in 1958, Alfred Hitchcock???s late noir, Vertigo, and in 1974, Frances Ford Coppola???s neo-noir, The Conversation. Because these texts present an extreme theorisation of deception in terms of the assembling and erasure of subjective identity, they will serve as a basis to explore the question of noir subjectivity. In proceeding thus, I argue in the dissertation that film noir???s most innovative borrowing can be described as a monstrous stitching together of incompatible parts???the real and the imaginary, the past and the present, the living and the dead???which accounts for a cut both between, and within, the image. It is this prosthetic approach to representation that takes the noir mode beyond its existential, individualist limits, and accounts for the subjective wound in noir: the heroic conflict between the singular and the multiple. In my analytic procedure then, I extend the idea of monstrosity beyond its current boundaries in contemporary theory. I do this by fusing Marie H??l??ne Huet???s conception of the monstrous imagination, which is a theory of art, with Gilles Deleuze???s powers of the false, which belongs to a philosophy of time. I posit a dialogic exchange across these analyses and my novel to suggest that the cinematic cut not only accounts for what Deleuze has termed the time-image but also is symptomatic of the chronic wounding of the riven noir hero. These analyses suggest that, while sustaining the aura of authorship through technical innovation and stylistic mastery, film noir serves paradoxically to challenge the mastery of the model designated as masculine. In my novel I continue to deal with the issues raised in the dissertation, through a rearticulation of a subjectivity that irrevocably alters its relation to representation in its affinity with the image, its serial movement through interstitial space, and its novel powers of falsification.

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves 512-520).

My research explores Alfred Hitchcock’s use of adaptation and the impact that this has on his status as an ‘auteur’. The aim, through looking at a cross section of his work, is to produce the basis for an adaptation model that could be used to examine his entire body of work, accounting for all influences, extratextual references, intertextualities, sequels, remakes and most importantly, other authors. By exploring Hitchcock’s use of the theatrical (a subject that is often ignored) and his lesser earlier films, we can begin to form the foundations for this model. By looking at his adaptation of a particular author and the textual evolution of one of his most iconic films, we are able to put this model to the test. Chapter one is the introduction, which looks at Hitchcock’s status within cinematic history, while also examining the current state of Hitchcock scholarship, auteur theory and adaptations studies. Chapter two examines the theatrical adaptations of Hitchcock’s British period, specifically shining light upon texts that are often ignored or maligned by theoretical study. Chapter three discusses the American theatrical adaptations, specifically looking at the role of the ‘meta-text’ and Hitchcock’s fascination with recreating the theatrical. Chapter four explores Hitchcock’s relationship with Daphne du Maurier, examining his adaptation of her work, overall themes, characters and ideologies. This chapter also presents an original reading of The Birds, which examines how Hitchcock’s film is more indebted to Du Maurier’s novels than her shot story of avian horror. Chapter five examines the evolution of Psycho. Hitchcock’s adaptation of, amongst others, Robert Bloch and Henri-Georges Clouzot will be discussed, as will the multiple sequels, remakes and exploitations that, in turn, adapt his own film. It will be argued that these texts are in fact adapting Psycho’s influences and origins as much as the film itself. Chapter six is the conclusion where the findings are analysed and the model of adaptation, which positions Hitchcock at the centre as a collector of texts is discussed. In occupying this position the notion of him as an ‘auteur’ is erased and instead he becomes the ‘Master of Adaptation’.

How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.

1998 wurde Psycho neu verfilmt; und das Besondere an diesem Remake war nicht, dass (wie bei Remakes eigentlich üblich) ein anderer Regisseur den Stoff neu interpretiert. Vielmehr sollte sich dieses Remake als nahezu exakte Replik des Originals herausstellen und rief damit kontroverse Diskussionen unter Filmkritikern hervor. Die Idee, ein so werkgetreues Remake zu produzieren, ist einzigartig in der Filmgeschichte. In dieser Studie soll der Fragestellung nachgegangen werden, ob und in welchem Maße das Remake als exakte Replik auch den gleichen thrill wie das Original bieten kann.

This thesis expands the discussion of the mass appeal and sustained success of reality TV by initiating an examination of the direct connections between reality TV and cinematic and written fiction. As reality TV has firmly established itself as a successful genre of entertainment over the last two decades, scholarship has been slow to follow. The majority of existing scholarship focuses on reality TV as a descendant of the documentary and emphasizes the role of the non-professional, the average person, as the star. Reality TV's appropriation of structural elements from general fiction is acknowledged only briefly and the use of specific techniques borrowed from fiction is largely unexplored. Although reality TV is a variation of the documentary, this thesis explores reality TV's creation of its voyeuristic appeal through the appropriation of key elements that come directly from fiction. Specific techniques used to create a voyeuristic appeal in reality programs, such as the morally ambiguous character and the confession, can be traced, respectively, to the surprising sources of Alfred Hitchcock and Edgar Allan Poe. Reality TV, in appropriating these techniques from Hitchcock and Poe, has a similar formula for entertainment: the thrill of voyeurism as a sublime experience. The consistent appeal of reality TV cannot be fully understood without an awareness of its connections to these two great artists.

El objetivo inicial fue una re-definición del clasicismo en arquitectura, al sospechar de su identificación con los órdenes griegos y romanos. Es distinto lo que ocurre en las demás artes, donde se califica de clásico aquello que hace referencia a lo universal, sustancial, atemporal. Se re-define los conceptos de clasicismo y modernidad, criticando obras comúnmente aceptadas como canónicas al respecto, y muy especialmente las de Summerson y Hitchcock. A través del pensamiento y de la obra de Alejandro de la Sota, se tratar de definir una modernidad atemporal como concepto capaz de resumir toda una opción de la arquitectura. clasicismo modernidad atemporalidad Alejandro de la Sota estilo internacional arquitectura clásica intemporal Summerson Hitchcock / García-Burgos Vijande, A. (2009). Modernidad atemporal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/4563

In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions. The source materials used are works by Bill Krohn, Giuseppe Cristiano, Steven D. Katz and Robert Kapsis, amongst others. The films/DVDs for my research have consisted of numerous behind-the-scenes materials and storyboards that have been featured with these filmic references. My conclusion is that the subsequent cinematic expression in each work is already apparent in the early process. This is revealed sometimes in the sketchbook of the director, but most often in the important collaborative work of the whole production team. In this we discover aspects as to what makes an elaborate, filmic masterpiece, facts most often unknown to a normal cinema audience.

Thesis (MMus)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates the impact that a musical score can have on the visual component as well as the final product of a film. This is achieved by the use of a systematic analytical approach that covers the most important aspects of the visual and musical elements within Vertigo. The film is regarded as one of cinema’s greatest examples of excellence. The many levels of meaning, inspired use of cinematographic techniques, meticulously crafted narrative and dynamic score combine to create a film unlike any other. The analysis of Vertigo is achieved by selecting specific scenes that contain important visual and musical elements essential to the narrative. The visual and musical aspects of each scene are analysed separately before the relationship between them is studied. Following this, the results of the analysis are summarised within the larger context of the narrative and conclusions are drawn regarding the music’s influence on the visual aspects of the film as well as its role in the ultimate narrative success of Vertigo. / AFRIKAANSE OPSOMMING: Hierdie verhandeling kwantifiseer die impak wat ‘n partituur kan uitoefen op die visuele aspekte en eindproduk van ‘n film. Dit word bereik deur die gebruik van ‘n sistematiese analitiese benadering wat die hoofaspekte van die visuele en musikale elemente in Vertigo ondersoek. Vertigo word beskou as een van die filmkuns se beste voorbeelde van uitnemendheid. Die komplekse betekenisvlakke, die geïnspireerde gebruik vakinematografiese tegnieke, die uitmuntende storielyn en die dinamiese partituur kombineer om ‘n unieke film te skep. In die ontleding van spesiale tonele met visuele en musikale elemente wat ‘n noodsaaklike bydrae lewer tot die sukses van die storielyn, kan Vertigo analiseer word. Die visuele en musikale aspekte van elke toneel word eers individueel bestudeer voordat die verhouding tussen die elemente analiseer word. Daarna word die resultate saamgevat binne die raamwerk van die storielyn en kan daar tot ‘n gevolgtrekking gekom word oor musiek se invloed op die visuele aspekte van die film en die rol wat musiek gespeel het in die beslissende sukses van Vertigo.

This thesis is an attempt to summarise the extent of the current knowledge concerning the development of the harpsichord in England. This knowledge is derived partly from documentary sources, partly from a review of the modern writers who have treated the subject, but mostly from careful examination, measurement and recording of the surviving instruments. The work is divided into two main parts, of which Part I treats the English harpsichord before the time of Kirkman. The first eleven pages are given over to a brief summary of the instruments before the time of Tabel, the maker to whom Kirkman was apprenticed. Tabel's one surviving harpsichord receives a more detailed treatment as does a double manual harpsichord by another of his apprentices, John Wilbrook. The surviving harpsichords by Joseph Mahoon are also examined, and it is noted that it is quite likely that two harpsichords by Francis Coston are still extant. Patents and other inventions of this period are also treated, and the section ends with an overall survey of the development until the time of Kirkman. The author traces no particular theme in the period until the last quarter of the seventeenth century, influence from Italy, and the Low Countries being found alongside elements of entirely native practice. It is noted however, that probably by the last quarter of the century English makers were beginning to make double manual instruments in imitation of the Flemish harpsichords of the time, but this took place alongside the development of a school of makers producing simple single manual harpsichords with 2.8ft choirs only. These harpsichords also contain elements of continental practice with the use of English case styles, native woods and a particular type of diagonal bracing. These instruments are so similar that they might be called the English school of the period. At the beginning of the eighteenth century this school began to develop double manual harpsichords in the same case style, but also drawing on aspects of design probably introduced to this country by immigrant workmen such as Tisseran. It was at the turn of the century that the dogleg 8ft register was probably first introduced to England. It was to hold sway in all double manual English harpsichords for the next one hundred years. In part II, the work of Kirkman is examined closely. It is noted that the layout of the string band for the 8ft choirs is the same in all Kirkman harpsichords regardless of the presence of a 4ft choir or a lute stop. It is also demonstrated that there was an interesting change in length of the Kirkman harpsichord from 96.75" in 1745 down to about 92.5" in the early 1760s and then increasing back to around 94" in the late 1780s. This change in length was accompanied by a change in the length of the FF string from 71" down to about 68" and then back to about 70". No explanation for this can be offered. Other aspects receiving detailed treatment in this section are the structure of the instruments, the types of roses, the signing of the nameboards (a change in the order of the wording is noted between 1758 and 1760), keyboards, jacks, slides, stringing, voicing etc. There are sections on the other instruments by Kirkman, the Changeable Harpsichord, marquetried harpsichords, Queen Charlotte's harpsichord, the instruments by Faulkner, and a comparison with Shudi harpsichords of the period. The section is terminated by a summary of the patents on musical instruments of the period and a summary of the overall development in the period 1730-1800. The thesis is complemented by a number of Appendices. Of these, the first is a detailed look at the life and times of Kirkman, revealing him to have been a man of some substance and resource. Having acquired a good grounding in his work from Tabel, and having married Tabel's widow when on the threshold of his career, he soon made enough money to start speculating and lending money so that by the 1770s he probably spent little time in harpsichord making and gave himself to pecuniary matters. Other Appendices complement this first appendix, giving further details of such matters as Kirkman's friends, relatives, property, legal dealings and domestic matters. One appendix is given to a report on the way in which the harpsichords seen during the survey have been measured and recorded. Finally, there are nine tables, giving general data on the harpsichords up until the time of Kirkman, surviving harpsichords from the period 1744-1800, chronological development of English furniture styles, a chronological table of events in the development of the harpsichord from 1439-1800, and more specific details and dimensions of Kirkman harpsichords. The thesis ends with some 75 illustrations all of which are original.