Tuesday, July 30, 2013

Hitchcock in Hindsight: The Master of Images

For the last month, I've covered almost everything there is to cover about Hitchcock's use of art in some of his most famous films. Granted, I haven't covered everything- that would be practically impossible- but I hope I have given you a comprehensive look at the varying significance Hitchcock places upon works of art and how he uses these works in a variety of ways in his films. And I've had a real blast while doing it.

If you've been following for long enough, you'll know that I have a great appreciation and devotion to Hitchcock's films. I could talk (or blog) for hours about the mastery that's evident in his movies and why his films make him the greatest director of all time. But as any good writer will tell you- it's better to show through subtle exposition of evidence than to tell openly. So I hope I have- I certainly tried! For me, the last month has been a fascinating journey into greater knowledge about what I knew and discovery of information I never even thought about. I'm glad that I'm able to share my knowledge with you!
For your reference, like at the beginning of the month, I've included links to all my posts about the Hitchcock films I've covered so far. I've put them in chronological order of the film's release date. This is not the end of Hitchcock- I assure you- you'll be hearing more from me shortly. But I think it's about time to move on a little and cover more of the varied and wonderful world of movie art.

Rebecca (1940)

Suspicion (1941)

The portrait of Lina's father, General McLaidlaw, carries much significance throughout the film. 

Spellbound (1945)

Rope (1948)

In Rope, the apartment is tastefully decorated with paintings: a sure sign of an oily modern villain. 

Strangers on a Train (1951)

Rear Window (1954)

The Trouble with Harry (1955)

Vertigo (1958)

North by Northwest  (1959)

Psycho (1960)

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