Vertigo (Philosophers on Film) by Katalin Makkai

By Katalin Makkai

Published in 1958, Vertigo is greatly considered as Alfred Hitchcock’s masterpiece and one of many maximum movies of all time. this is often the 1st publication dedicated to exploring the philosophical features of Vertigo. Following an advent through the editor that areas the movie in context, every one bankruptcy displays upon Hitchcock’s film from a philosophical standpoint. themes mentioned include:

• reminiscence, loss, memorialisation, and creativity
• mimetic or representational paintings and artwork as magic
• the character of romantic love
• gender, sexual objectification, and identity
• taking a look, "the gaze", and voyeurism
• movie and psychoanalysis
• myth, phantasm, and reality
• the phenomenology of colour.

Including annotated additional interpreting on the finish of every bankruptcy, this collection is key interpreting for anyone drawn to Vertigo, and a terrific source for college kids of movie and philosophy.

Show description

By Katalin Makkai

Published in 1958, Vertigo is greatly considered as Alfred Hitchcock’s masterpiece and one of many maximum movies of all time. this is often the 1st publication dedicated to exploring the philosophical features of Vertigo. Following an advent through the editor that areas the movie in context, every one bankruptcy displays upon Hitchcock’s film from a philosophical standpoint. themes mentioned include:

• reminiscence, loss, memorialisation, and creativity
• mimetic or representational paintings and artwork as magic
• the character of romantic love
• gender, sexual objectification, and identity
• taking a look, "the gaze", and voyeurism
• movie and psychoanalysis
• myth, phantasm, and reality
• the phenomenology of colour.

Including annotated additional interpreting on the finish of every bankruptcy, this collection is key interpreting for anyone drawn to Vertigo, and a terrific source for college kids of movie and philosophy.

Show description

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These films (the procedural also appeared at this time in radio and television series, like Dragnet and The Lineup, and detective fiction) dealt like film noir with the world of crime but focused less on the plights of individual criminals (as in Double Indemnity or The Postman Always Rings Twice) or on private investigators (as in The Big Sleep) and concentrated instead on the procedures by which governmental agents (whether members of municipal police forces or national agencies) acted in coordinated groups to solve crime.

An alternate title for Gun Crazy, Deadly is the Female, encapsulates this perception. Out of the Past provides a useful instance. Jeff (Robert Mitchum) is a private detective hired by a gangster, Whit (Kirk Douglas), to locate his girlfriend, Kathie (Jane Greer), who has both shot him and stolen $40,000 from him. Jeff finds her but she seduces him and they run off together. He thereby reneges on his professional responsibility to Whit. When Jeff’s partner tracks them down, Kathie kills the partner and returns to Whit.

The movie’s frame story resembles a utopian documentary. In its prologue, a “Voice of God” narrator describes the duties and advanced technology of Treasury agents and we see well-lit, documentary footage of the monumental US Treasury Building in Washington, DC and work being done in its sophisticated, state-of-the-art crime laboratories. An actual Treasury Department official, Elmer Lincoln Irey (who was also known at the time as the director of the Internal Revenue Service’s lead investigation unit during the successful federal tax evasion prosecution of the notorious gangster Al Capone), directly addresses the viewer to provide the historical context for the film’s events (Plates 12 and 13).

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