By Robert Kolker
Alfred Hitchcock's Psycho: A Casebook collects many of the most interesting essays in this groundbreaking film--a movie that's excellent for educating the language of cinema and the ways that powerful filmmakers can holiday Hollywood conventions. Psycho is a movie that may be used to provide the constructions of composition and slicing, narrative and style construction, and perspective. The movie is additionally a highpoint of the horror style and an instigator of all of the slasher motion pictures to return in its wake. The essays within the casebook hide all of those parts and extra. in addition they serve one other objective: offered chronologically, they characterize the alterations within the methodologies of movie feedback, from the 1st journalist stories and early auteurist techniques, via present psychoanalytic and gender feedback. different decisions contain an research of Bernard Hermann's ranking and its shut dating to Hitchcock's visible development; the recognized Hitchcock interview through Franï¿½ois Truffaut; and an essay by way of Robert Kolker that, by using stills taken without delay from the movie, heavily reads its striking cinematic constitution. participants contain Robert Kolker, Stephen Rebello, Bosley Crowther, Jean Douchet, Robin wooden, Raymond Durgnat, Royal S. Brown, George Toles, Robert Samuels, and Linda Williams.
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Additional info for Alfred Hitchcock's Psycho: A Casebook (Casebooks in Criticism)
The director had lumped Stefano with what he termed “the Reginald Rose– ‘Playhouse 90’ crowd”—humorless, self-important types with Something to Say. To Stefano’s rescue came the formidable agent Kay Brown. Brown, among her many accomplishments, had steered David O. Selznick toward the acquisition of the Margaret Mitchell novel, Gone with the Wind, and toward Daphne Du Maurier’s Rebecca. Brown had also negotiated Hitchcock’s ﬁrst American contract with Selznick and had inﬂuenced the director to hire playwright Samuel Taylor as screenwriter for Vertigo.
But the Hitchcock name was sufﬁcient to send circulation skyward. Movie audiences, too, awaited the walk-on appearance the director made in each of his ﬁlms. Wasserman understood Hitchcock’s seemingly contradictory dynamic of the exhibitionist and the recluse. “About his appearance,” observed an associate of the director, “Hitch was very contradictory. ” Lew Wasserman also avidly hoped to give MCA a greater toehold in the production side of ﬁlm and television. In the late ﬁfties, top Hollywood talent generally steered clear of the “overexposure” that TV appearances seemed to threaten.
The director told writer Charles Higham in The Celluloid Muse, “Psycho all came from Robert Bloch. Joseph Stefano . . ” Robert Bloch attributes Stefano’s peckishness to simple turf rivalry. “It’s a good thing Mr. ” But it had long been Hitchcock’s tendency to appropriate any good idea as his own. , the hour to which the director agreed to accommodate Stefano’s ongoing sessions with a psychoanalyst. According to the writer, “When it got down to ‘Let’s get some work done,’ he was never very eager.