Description
In a now-famous interview with François Truffaut in 1962, Alfred Hitchcock described his masterpiece Rear Window (1954) as "the purest expression of a cinematic idea." But what, precisely, did Hitchcock mean by pure cinema? Was pure cinema a function of mise en scène, or composition within the frame? Was it a function of montage, "of pieces of film assembled"? This notion of pure cinema has intrigued and perplexed critics, theorists, and filmmakers alike in the decades following this discussion. And even across his 40-year career, Hitchcock's own ideas about pure cinema remained mired in a lack of detail, clarity, and analytical precision.The Art of Pure Cinema is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en scène, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock.
Table of Contents
AcknowledgmentsIntroduction: The Myth of Pure CinemaPart 1: The Evolution of Pure CinemaChapter 1: Pure Cinema in ContextChapter 2: Hitchcock's InterlocutorsPart 2: The Mechanics of Pure CinemaChapter 3: The Part is Greater than the Whole: Toward an Aesthetic Philosophy of the FragmentChapter 4: The Fragmented Frame 1: Expression, Abstraction, SchematizationChapter 5: Intensified Schematics: Bava, Argento, and De Palma's Body DoubleChapter 6: The Fragmented Frame 2: SegmentationChapter 7: Music You Can Hear: Toward an Abstract SoundscapeConclusion: The Fractal Image in De Palma's Femme FataleBibliographyFilmography
