Cinderella used to be one of my least-favorite fairy tales, and the animated Disney "classic" irritated me, even as a little girl. Since the original Cinderella came out, times have changed. Meanwhile, Disney has made significant strides in its depiction of female characters. Narratives like these are a huge relief and a step forward.
Alfred Hitchcock By Roderick Heath In the late months of and througha battery of films hit movie screens that essentially initiated modern cinema. Psycho, although not representing any great break for its director in style or subject, nonetheless offered a ruthlessly compressed and expressive ideogram of cinema form and function, so complete and effective that it forced a reorganisation of whole continents in pop culture.
He also dragged everyone over the line with him. More immediately, much as The Cabinet of Dr. Caligari had done four decades earlier, Psycho redefined the Horror film. Hitchcock had never ventured into the genre overtly before despite occasionally skirting it, in the old dark house melodramas of Rebecca and Under Capricorn with their elusively haunting presences and literal skeletons in the closet, in the duplicitous landscapes of mind and body in Spellboundand the many sequences of intimate violence he was so skilled at portraying, pocking his oeuvre.
Hitchcock had tackled the theme of the serial killer early in his career with The Lodger: A Story of the London Fogbut there had concentrated not on the killer or victims but on the elusively attaching spectre of guilt. And yet Psycho and The Birds are surely the greatest one-two punch in the genre.
Hitchcock would have seen the early classics of the Expressionist movement, as his tenure learning his craft in Munich in the early s fully immersed him in that aesthetic and its underpinning ideas. Whilst Hitchcock brought aspects of the style to his films, he quickly learned to mediate it through a harder, more three-dimensional way of looking at the world, and at film.
When he finally strayed properly into Horror, Hitchcock helped give it something it needed, a new blueprint, a sense of connection with a real and immediate sense of danger living in the world, in a way the genre had never quite known before.
In return it gave him something he needed as imitators crowded him and cinematic tastes changed: Hitchcock did not expel the lingering influence of the old Expressionist style from his film, but does something more interesting, having it loom as large and weird as the Bates house over the motel, which, with its straight, flat surfaces and forms, invites the clear-lit gaze of his TV-trained crew; two modes of cinema are placed in close and incongruous conflict.
Caligari and his world illustrated the workings of a pathological mind, an idea Psycho demonstrates to the audience in a more complex dance of artifice and authenticity.
Like The Cabinet of Dr. Caligari, Psycho revolves around the revelation a seemingly average and likeable young man is in fact insane. But the projection of his lunacy here is a worn guise rather than incarnated in the drama.
Symbols are cast aside. The killer is loose. Hitchcock starts instead with fastidious declarations of date, time, place flashed on the screen, as the camera turns surveying the boxes and oblongs of the Phoenix, Arizona cityscape.
The precision mimics true crime reportage, whilst the visuals reproduce the voyeuristic temptations of Rear Window in miniature, camera zeroing in on a hotel room where a treat waits, a couple just done screwing.
Sam, chafing under the load of debts inherited from his father in addition to a hardware store, having a quickie with his lover on one of his business trips to Phoenix. Soon the old propriety will have its revenge.
Romantic failure is economic burden — Sam is also paying alimony to an ex-wife. Everything has a cost and profit value, a transaction on multiple but ever-linked indexes, of money and morality, social and emotional.
New starts are possible. Sam sees the possibility of economic freedom soon. Just hold the line and grit your teeth. But Marion desperately wants to make something happen now; the coffers of hope and joy are totally empty.
Cravings for respectability fire transgressive impulses.
Marion returns to the office, lunch uneaten noted acerbically on the bedside stand back in the hotel room, forgotten whilst other appetites are sated. Cassidy flirts shamelessly with Marion, trying to excite her with his big wad.
No wonder Marion has a headache.
She resolves to flee town with the cash, head out to Sam in his home town of Fairvale, California, and get on with life. Just as loud is the declaration of how love and sex are entwined with finance.We would like to show you a description here but the site won’t allow us.
Having recently seen Kenneth Branagh and Chris Weitz’s recent adaptation of Cinderella, I had some words to say.I had fully expected it to be little more than another pointless adaptation, reiterating the problematic, misogynistic undertones of Disney’s animated classic.
This study examines the reconstruction of identity in the context of post-totalitarian Spain and, more widely, of postmodern Western culture. This is the first book focusing on the fiction of influential writer Cristina Fernandez Cubas.
Rachel R. Taube is pursuing her MFA in Fiction at UNC Wilmington.
This study examines the reconstruction of identity in the context of post-totalitarian Spain and, more widely, of postmodern Western culture. This is the first book focusing on the fiction of influential writer Cristina Fernandez Cubas. Search the history of over billion web pages on the Internet. Presented here for the first time in English, the cult writer Charles Chahwan—"Lebanon's answer to Charles Bukowski"—tells a tale of rival militiamen euphoric with violence. U.
She has been an Electric Literature-Catapult Scholarship recipient and a Tent Creative Writing Fellow, and she holds a masters in Creative Writing and Gender Studies from the University of Pennsylvania. You can find her fiction in Storychord and Apiary Magazine.
Director: Alfred Hitchcock. By Roderick Heath. In the late months of and through , a battery of films hit movie screens that essentially initiated modern cinema.
She is the creator of the female-centric, coming-of-age film, Nune and hybrid graphic novel Red as Blue. Writing from the margins of gender, orientation and circumstance, Strangeway’s work is an unconventional call to action/5(13).