User:Emily/20151203: Difference between revisions

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 The Devil's Mistress (1966)
+===Notes for thesis===
+''Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock)''- zizek on
+'''Mechanical suspense'''
+suspense<ref>http://filomasnou.blogspot.nl/2014/07/zizek-1-suspens-everything-you-always.html<ref> <br>
+"Suspense is in fact produced by editing." Typical case study is the editing of chases - a parrallel editing, in which Griffith built up through the interplay of close-up shots of the protagonists' face. "To a great extent, the cinema of terror or of anxiety still depends upon the principle of editing" (a German word, Angst)
+'''Hitchcockian suspense/ "Hitchcock's touch"'''
+"A good part of Hitchcock's work in cinema could in fact be summarized in terms of the editing of chases, with the proviso that the chase, which is precipitated by a token object - which Hitchcock himself
+calls, as is well known, a McGuffin."<br>
+"What, then, is the object that this anxiety or suspense releases, revives and sets going? I would hazard the response that this object, which emerged at the same time as the close-up was discovered, is because of its characteristic malice, the gaze." "Gesture, concentration [haragei] and neutrality would thus represent three stages in a progressive
+domestication of the actor's body, 'through the top', through the face, which benefited staging and editing and was crucial to establishing the laws of suspense. Hitchcock often recalled that he would keep the face neutral."
+"This is how fiction is introduced, for, as Godard has observed — actually with reference to Hitchcock — it is the gaze which creates fiction."
+'''The 'impression of reality' shifts to a secondary level, that of connotation'''
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Revision as of 22:17, 11 December 2015