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.

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.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains vi, 71 p. Includes bibliographical references.

Made available in DSpace on 2016-04-26T18:18:44Z (GMT). No. of bitstreams: 1 Priscila Tatiane dos Santos.pdf: 5011383 bytes, checksum: f182bb0cd60b51b7cf5810c456258327 (MD5) Previous issue date: 2010-05-24 / In general, this work aims at analyzing the matter of genders in Hitchcock s motion pictures, understanding his reference to the phallic type of femaleness, the different maternal kinds, the ambiguity in generic categories and how sex roles are distributed in his movies. Specifically, it addresses the examination of these generic configurations from costume design s point of view. This work s methodology consists of bibliographic and filmographic research. The main references are theoretical and critical works about Hollywood s narrative classic cinema and works about Hitchcock s cinema. As for the matter of genders, this work bases on Freud s three Contributions to the Psychology of Love. Freud s concept of The Uncanny is the theoretical basis for the articulation between misogyny and the uncanny, i.e., the matter of the woman as sinister. There are particularly interesting keys to the comprehension of this question in The Taboo of Virginity. Images, scenes and sequences the most significant ones, which demonstrate the costume design role in gender configuration from the movies that make up the corpus will be analyzed so as to understand how these female and male types and their ambiguities are constructed by costume design. Especially in this approach to genders, the analysis of Hitchcock s movies is paramount, because, by mixing up sex roles through shuffling generic categories, the director almost reaches homosexuality, which, linked with clothes, will be examined in almost-explicit homosexual characters. This study arises from the hypothesis that Hitchcock s cinema has broken down gender categories, shuffled sexual role distribution and built sexually ambiguous characters at least since 1940. As a secondary hypothesis, it is presented that the nuanced generic configurations can be interpreted through costume design / O objetivo geral desta pesquisa é analisar a questão dos gêneros em filmes de Hitchcock, compreender a maneira como se dão a distribuição dos papéis sexuais, a recorrência ao tipo fálico de construção do feminino e entender os diferentes tipos maternais e a ambiguidade das categorias genéricas. O objetivo específico é examinar essas configurações genéricas a partir do figurino. A metodologia consiste em pesquisa bibliográfica e filmográfica. As principais referências são obras teóricas e críticas sobre o cinema clássico narrativo hollywoodiano e sobre o cinema de Hitchcock. Para o problema dos gêneros, o Mestrado se apoia nas três Contribuições à Psicologia do Amor de Freud. O Estranho, também de Freud, é a base teórica para a articulação entre misoginia e estranho, vale dizer, a questão da mulher como sinistra. Há chaves particularmente interessantes para a compreensão dessa questão em O Tabu da Virgindade. Imagens, cenas e sequências as mais significativas, que melhor demonstram o papel do figurino na configuração dos gêneros dos filmes que compõem o corpus serão analisadas para compreender como esses tipos femininos, masculinos e suas ambiguidades são construídos pelo figurino. Principalmente nessa abordagem dos gêneros, é indispensável a análise de filmes de Hitchcock pois, ao confundir os papéis sexuais por embaralhar as categorias genéricas, o diretor quase chega à homossexualidade, que, ligada às roupas, será analisada em personagens homossexuais quase explícitos. Este estudo parte da principal hipótese de que o cinema de Hitchcock coloca em crise as categorias de gêneros, embaralha a distribuição dos papéis sexuais e constrói personagens sexualmente ambíguos, ao menos, desde 1940. A hipótese secundária é a de que essas configurações genéricas nuançadas podem ser lidas através do figurino

Made available in DSpace on 2016-04-26T18:17:25Z (GMT). No. of bitstreams: 1 Marcelo Moreira Santos.pdf: 756567 bytes, checksum: acdeb10eaafcc8251d17f132e1cff21c (MD5) Previous issue date: 2008-09-29 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This present work focuses on Movies as a hybrid form of representation, as the result of the union of three indissoluble, mixed, though distinct languages: the sound, the visual and the verbal ones. It seeks to understand the gearing of those languages in the signic construction of cinematographic works, notably in the case of Hitchcock. It is also the opportunity to highlight the profound signic revolution determined by the advent of images in movement in the end of the XIX century and by seeing, in the hybridism of the cinematographic discourse, a culmination of the esthetics of the fragmentary eighteenth century, notably the Baudelairean one, as it is armed by the fluctuating attention of the poet flâneur, in his dream of Modernity. We took as our main theoretical reference the Semiotics of Charles Sanders Peirce (1839-1914), who supplies the grounds for one to reflect on the epistemology of Movies, thus making possible the development of the analysis of the signic construction of Movies which, in the end, would constitute our understanding of the hybrid language of which they are made up of. Markedly limited by mixtures and juxtapositions of fragments, the cinematographic sign has its genesis delineated by the poetics of movement, by a poetics of inter-relations and exchanges between languages, which dialogs with the metropolitan environment in the end of the XIX century. With the objective of understanding this esthetics and such logic, found both in Movies and the Metropolis, one has sought the reflections of German philosopher Walter Benjamin on the flâneur and the phenomenological experience of the fragment, and the poetry of Charles Baudelaire, the flânerie and his modern dream of fluency amid the multitude, in his giving himself to fast-flowing, cut, abrupt phenomena of the chock. In the first chapter, we shall discuss to what extent the development of Movies is tied to the modern environment of the metropolis. On this path of reflection on the signic genesis of the Movies, it is a must that one investigates and questions the phenomenological nature of its hybrid language. In the second chapter, we shall observe the construction of the hybrid cinematographic sign and clarifies the triad that grounds it: its syntax, its form and its discourse. The third chapter analysis the film Vertigo by Alfred Hitchcock, and shows how, through the weaving of the visual, sound and verbal languages, this director creates, with a masterly hand, the thriller. In the Conclusion, besides reviewing all we have seen, the paper points at new ways one can understand the language of Movies, thus opening new inroads of questionings and hypotheses and deepening the theme and elaborating the horizons for the continuation of the research / O presente trabalho enfoca o cinema como forma híbrida de representação, resultante da junção de três linguagens indissociáveis, mescladas, mas distintas: a sonora, a visual e a verbal. Busca-se compreender o entrosamento dessas linguagens na construção sígnica das obras cinematográficas, notadamente no caso específico do cinema de Hitchcock. Trata-se também de assinalar a profunda revolução sígnica determinada pelo advento das imagens em movimento, no final do século XIX, vendo no hibridismo do discurso cinematográfico uma culminância das estéticas oitocentistas fragmentárias, notadamente a baudelairiana, tal como é armada pela atenção flutuante do poeta flâneur, em seu sonho de modernidade. Tomamos como referência teórica principal a Semiótica de Charles Sanders Peirce (1839-1914), que dá base para se refletir sobre a epistemologia do cinema objetivando, com isso, o desenvolvimento da análise da construção sígnica dos filmes, que no fim, constituiria em entender a linguagem híbrida pelo qual o cinema é composto. Marcadamente pautado pelas misturas e justaposições de fragmentos, o signo cinematográfico tem sua gênese delineada por uma poética do movimento, por uma poética de inter-relações e intercâmbios entre as linguagens, que dialoga com o ambiente metropolitano no fim do século XIX. Com o objetivo de se compreender essa estética e essa lógica, encontrada tanto no cinema quanto na metrópole, é que se buscou as reflexões do filósofo alemão Walter Benjamin sobre o flâneur e a experiência fenomenológica do fragmento, e a poesia de Charles Baudelaire, a flânerie e seu sonho moderno de fluência em meio a multidão, em sua entrega aos fenômenos fugidios, entrecortados e abruptos do choque. No primeiro capítulo, discute-se em que medida o desenvolvimento do cinema está atrelado ao ambiente moderno da metrópole. Neste caminho de reflexão sobre a gênese sígnica do cinema, torna-se necessário investigar e questionar a natureza fenomenológica de sua linguagem híbrida. No segundo capítulo, observa-se a construção do signo híbrido cinematográfico, esclarecendo a tríade que o fundamenta: a sintaxe, a forma e o discurso. O terceiro capítulo analisa o filme Um corpo que cai de Alfred Hitchcock, mostrando como, através da tessitura das linguagens visual, sonora e verbal, este diretor confecciona com mão de mestre, o suspense. Na conclusão, além de retomar o todo anterior, o trabalho aponta novos caminhos para se entender a linguagem do cinema, abrindo um novo leque de questionamentos e hipóteses, aprofundando o tema e traçando os horizontes para a continuidade da pesquisa

Made available in DSpace on 2016-06-02T20:23:16Z (GMT). No. of bitstreams: 1 6284.pdf: 4033248 bytes, checksum: 9d5efb0e9ae354a70477b6f64d8c9377 (MD5) Previous issue date: 2014-08-29 / Financiadora de Estudos e Projetos / The objective of this dissertation is to study the narrative of the trailer of one of the most influential films in cinema history: Alfred Hitchcock´s Psycho (1960). The trailer will, therefore, be analyzed not only as a tool of movie marketing, but mostly as a 'shortmovie' which has a kind of parallel narrative and assist in the feature film, with a beginning, middle and end, trying to understand how that is constituted and how it still speaks to the disclosure´s posters and the opening credits of the film. Both 'core' sequence storyboard´s (trailer and movie) will also be used in this reading that seeks to comprehend the process of signification in the orbit of Psycho. / O objetivo desta dissertação é estudar a narrativa do trailer de um dos mais influentes filmes da história do cinema: Psicose (1960), de Alfred Hitchcock. O trailer será, portanto, analisado não apenas como uma ferramenta de marketing cinematográfico, mas principalmente como um 'curta' que conta com uma espécie de narrativa paralela e auxiliar à do longa-metragem, com início, meio e fim, tentando compreender como aquela se constitui e de que forma dialoga ainda com os cartazes de divulgação e com os créditos iniciais do filme. O storyboard da sequência 'central' de ambos (trailer e filme) também será utilizado nesta leitura que visa compreender o processo de significação na órbita de Psicose.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-04-09T18:44:02Z No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-17T21:21:39Z (GMT) No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Made available in DSpace on 2018-04-17T21:21:39Z (GMT). No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) Previous issue date: 2018-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Essa pesquisa tem como objetivo principal investigar a composição do suspense narrativo – suas origens e implicações – a partir da análise das obras de Edgar Allan Poe, G.K. Chesterton e Alfred Hitchcock. Tendo como base o levantamento feito na obra de dois grandes nomes da crime-fiction literária e uma análise na obra cinematográfica do ‘mestre do suspense’, definiu-se os contos The Black Cat, de Poe, e The Honour of Israel Gow, de Chesterton, além do filme The Lodger, de Hitchcock, como modelos de narrativas paradigmáticas no conjunto das obras de cada um dos artistas em questão. Desse modo, com base nas análises narrativas e no aporte teórico acerca do suspense, colocar-se-á o embate entre culpa e inocência como elemento comum às narrativas dos três autores; bem como será discutida a hipótese de que, a partir da convergência entre elementos peculiares à obra de Poe e os particulares à obra de Chesterton, Hitchcock conseguiu criar um suspense moral bastante característico ao seu estilo de crime-fiction cinematográfico. Ou seja, como base numa simples ligação inicial – a crime-fiction – essa pesquisa pretende levantar o máximo de informações e conexões nos contos e no filme em análise a fim de compreender o suspense e o medo originados no conflito entre culpa e inocência, tanto na literatura quanto no cinema. / This research has as main objective investigating the composition of suspense narratives – their origins and implications – from the analysis of the works of Edgar Allan Poe, G.K. Chesterton and Alfred Hitchcock. On the basis of the survey on the works of two great names in literary crime-fiction and the examination on the filmography of ‘the master of suspense’: Poe’s Black Cat, Chesterton’s The Honor of Israel Gow and Hitchcock's The Lodger are defined as models of paradigmatic narratives in the oeuvres of each artist in question. Thus, based on the narrative analysis and the theoretical support about suspense, the contrast between blame and innocence will be assigned as a common element to the narratives of the three authors; as well as it will be discussed the hypothesis that Hitchcock created a moral suspense, quite characteristic to his cinema style of crime-fiction, from the convergence between peculiar elements of Poe’s work and odd elements of Chesterton’s work. In other words, based on a simple initial connection – the crime-fiction – this research intends to collect the maximum information on the stories under analysis in order to comprehend the suspense and the fear originated in the conflict between guilt and innocence, in both arts (cinema and literature).

L’intertextualité filmique de l’oeuvre des frères Coen permet un recyclage des formules génériques et stylistiques qui font partie des traditions du cinéma. Les frères Coen empruntent des techniques et des thèmes tant au cinéma de l’époque des studios qu’à des écrivains du XXe siècle comme Raymond Chandler ou James Joyce. Une étude narratologique des procédes des frères Coen apportera une appréciation de leursinnovations dans la mise en scène. Leurs réécritures des schémas du passé donnent à ces films des ancrages dans la contemporanéité. Cette esthétique de réécriture sera analysée dans le contexte de l’histoire des idées et dans le contexte de la civilisation américaine contemporaine. Une mise en rapport avec des metteurs en scène de l’histoire du cinéma, comme Fritz Lang et Alfred Hitchcock, permettra d’évaluer les effets de leurs films sur le spectateur. / Film intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated.