Coterminous
发表于 2025-3-28 15:44:56
The Visual Peak: Saul Bass as Hitchcock’s ‘Pictorial Consultant’director) contributed extensively to Alfred Hitchcock’s films. Using Bass’s designs for . (1958), . (1959), and . (1960), Jung examines the handiwork of Bass in detail, exploring his function as a graphic designer by using both official and off-the-record designs, including poster artwork, trailers,
磨坊
发表于 2025-3-28 22:38:08
Alfred Hitchcock’s , Seriesy Robert Arthur Jr. in 1964. Although the early volumes bore Hitchcock’s name, he had, in fact, very little to do with the series. At the same time, the Hitchcock brand was indispensable for the success of Arthur’s novels, for it was extremely popular in the USA at that time because of his various f
Allergic
发表于 2025-3-29 02:28:44
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condone
发表于 2025-3-29 03:48:11
Hitchcock—Powell—Fordporaries. This chapter explores parallels between the careers of Hitchcock and John Ford, the only director to rival him for the sheer longevity and high achievement of his career in popular cinema, silent and sound. Both directors used the same actors in their films and are associated with several
Integrate
发表于 2025-3-29 11:02:44
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Arboreal
发表于 2025-3-29 15:23:08
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ARY
发表于 2025-3-29 15:50:35
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自由职业者
发表于 2025-3-29 20:13:58
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MOAN
发表于 2025-3-30 03:50:28
Gazing and Constructing: Imag(in)ing Madeleine in ,he film’s complex subtext about deception, imagination, and lying. As Hitchcock directs some of Scottie’s gazes at Madeleine and Judy as deviating, divergent visual impressions that are consequently bound in continuous POV shots, the act of seeing itself is rendered problematic.
Insubordinate
发表于 2025-3-30 06:05:02
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