Alfred Hitchcock S Frenzy

After an unparalleled string of artistic and commercial triumphs in the 1950s and 1960s, Alfred Hitchcock hit a career lull with the disappointing Torn Curtain and the disastrous Topaz. In 1971, the depressed director traveled to London, the city he had left in 1939 to make his reputation in Hollywood. The film he came to shoot there would mark a return to the style for which he had become known and would restore him to international acclaim. Like The 39 Steps, Saboteur, and North by Northwest before, Frenzy repeated the classic Hitchcock trope of a man on the run from the police while chasing down the real criminal. But unlike those previous works, Frenzy also featured some elements that were new to the master of suspense’s films, including explicit nudity, depraved behavior, and a brutal act that would challenge Psycho’s shower scene for the most disturbing depiction of violence in a Hitchcock film. In Alfred Hitchcock’s Frenzy: The Last Masterpiece, Raymond Foery recounts the history—writing, preprod

'Frenzy' was Alfred Hitchcock's penultimate film, & arguably one of his most misunderstood and neglected. Whereas even 'Psycho' did eventually become respectable - indeed, it is a good contender for the most admired of the Master's films - 'Frenzy' still remains problematic for many. While Raymond De Foery makes his feelings clear in the title of his book, 'Alfred Hitchcock's Frenzy: The Last Masterpiece', Hitchcock's controversial biographer Donald Spoto calls the film 'repulsive' & 'a closed & coldly negative vision of human possibility'. 'Frenzy' is perhaps Hitchcock's most nakedly autobiographical film, representing both a comeback & farewell to the city of his birth. But it started out as a very different kind of project. This book discusses the evolution of the film, its production, reception, & place in Hitchcock's oeuvre, as well as its status as a key film of 'seventies' British cinema.

Frenzy is perhaps Hitchcock's most nakedly autobiographical film, representing both a comeback and farewell to the city of his birth. Ian Cooper discusses the evolution of the film, its production, reception, and place in Hitchcock's oeuvre, as well as its status as a key film of "sleazy Seventies" British cinema.

Alfred Hitchcock's films have had an impact on scholars of all critical persuasions to the extent that the study of his works is synonymous with the study of 20th century cinema itself. These essays reflect the length and breadth of this scholarship.

Looks at Hitchcock's early life as well as his legendary career, which spanned five decades and produced some of the most famous and critically acclaimed movies made.

This deluxe gift book is a must-have tribute to the master of suspense and film noir, Alfred Hitchcock. It includes a three-dimensional treatment of key icons/scenes from stills of each of the following Hitchcock classics: "Saboteur, Psycho, Marnie, The Birds, Frenzy, Torn Curtain," and "Vertigo."

Hitchcock knew the popular saying: truth is stranger than fiction. He believed it and in fact based almost all of his most famous works on real life stories. Inside this book, you will find the chilling true accounts behind the following movies: Rope, The Wrong Man, Topaz, Frenzy, Psycho, and The Birds. This is a collection of previous published books, which may also be purchased separately.

Offers new and compelling perspectives on the deeply moral nature of Hitchcock’s films. In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train, Rear Window, Vertigo, North by Northwest, and Frenzy, the contributors to this book strive to throw light on the way Hitchcock depicts a moral—if not amoral or immoral—world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker’s moral gaze and the inflection point it provides for modern cinema. R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson University. His previous books include Invented Lives, Imagined Communities: The Biopic and American National Identity (coedited with William H. Epstein) and Hitchcock at the Source: The Auteur as Adaptor (coedited with David Boyd), both also published by SUNY Press. Homer B. Pettey is Professor of Film and Literature at the University of Arizona. His previous books include Film Noir and International Noir, both coedited with R. Barton Palmer. Steven M. Sanders is Professor Emeritus of Philosophy at Bridgewater State University. He is the author or editor of many books, including The Philosophy of Michael Mann (coedited with Aeon J. Skoble and R. Barton Palmer) and The Philosophy of Steven Soderbergh (coedited with R. Barton Palmer).