One shot Hitchcock s crime scenes

Robinson, L; Robson, M

One shot Hitchcock s crime scenes

Robinson, L Robson, M

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Publisher:: Oxford University Press
Publication Type:: Chapter
Citation:: One Shot Hitchcock, 2024, pp. 1-18
Issue Date:: 2024-03-21

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Field	Value	Language
dc.contributor.author	Robinson, L
dc.contributor.author	Robson, M
dc.contributor.editor	Robinson, L
dc.contributor.editor	Robson, M
dc.date.accessioned	2025-02-04T21:32:54Z
dc.date.available	2025-02-04T21:32:54Z
dc.date.issued	2024-03-21
dc.identifier.citation	One Shot Hitchcock, 2024, pp. 1-18
dc.identifier.isbn	0197682871
dc.identifier.uri	http://hdl.handle.net/10453/184947
dc.description.abstract	<jats:title>Abstract</jats:title> <jats:p>“One Shot: Hitchcock’s Crime Scenes” proposes a new auteurist methodology in which a single shot can be used to reveal the imprint of the director on a film. It expands upon Tom Gunning’s work on Fritz Lang to explore how reading backward from the single shot outward to the film as a whole, and in turn, to the director and their context is a particularly productive practice of film analysis. This chapter demonstrates this methodology through a discussion of Alfred Hitchcock’s most famous sequence, the shower scene in Psycho (1960). Special attention is also given to Hitchcock’s cameo shots, which are examples of Hitchcock imprinting himself on singular shots from his films and television series. Through these analyses this chapter sets up the complexities of the single shot approach, establishing how such a study is valuable for furthering scholarship on Hitchcock’s oeuvre.</jats:p>
dc.language	en
dc.publisher	Oxford University Press
dc.relation.ispartof	One Shot Hitchcock
dc.relation.isbasedon	10.1093/oso/9780197682876.003.0001
dc.rights	info:eu-repo/semantics/restrictedAccess
dc.title	One shot Hitchcock s crime scenes
dc.type	Chapter
utslib.copyright.status	in_progress	*
dc.date.updated	2025-02-04T21:32:53Z
pubs.publication-status	Published

Abstract:

Abstract “One Shot: Hitchcock’s Crime Scenes” proposes a new auteurist methodology in which a single shot can be used to reveal the imprint of the director on a film. It expands upon Tom Gunning’s work on Fritz Lang to explore how reading backward from the single shot outward to the film as a whole, and in turn, to the director and their context is a particularly productive practice of film analysis. This chapter demonstrates this methodology through a discussion of Alfred Hitchcock’s most famous sequence, the shower scene in Psycho (1960). Special attention is also given to Hitchcock’s cameo shots, which are examples of Hitchcock imprinting himself on singular shots from his films and television series. Through these analyses this chapter sets up the complexities of the single shot approach, establishing how such a study is valuable for furthering scholarship on Hitchcock’s oeuvre.

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http://hdl.handle.net/10453/184947