Any book-length interview with Alfred Hitchcock is valuable, but considering that this volume's interlocutor is François Truffaut, the conversation is remarkable indeed. Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcoc...(展开全部)

Any book-length interview with Alfred Hitchcock is valuable, but considering that this volume's interlocutor is François Truffaut, the conversation is remarkable indeed. Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcoc...(展开全部)

D. A. 米勒（D. A. Miller），加州大学伯克利分校英文系约翰•F. 霍奇斯（John F. Hotchkis）教授，其他著述有《简•奥斯丁，或风格的秘密》（2003）等，他还为《电影季刊》撰写专栏。

D. A. 米勒（D. A. Miller），加州大学伯克利分校英文系约翰•F. 霍奇斯（John F. Hotchkis）教授，其他著述有《简•奥斯丁，或风格的秘密》（2003）等，他还为《电影季刊》撰写专栏。

"The assembly of pieces of i-- lm to create fright is the essential part of my job, just as a painter would, by putting certain colours together, create evil on canvas." Alfred Hitchcock (1899-1980) was one of the most interviewed directors in the history of i-- lm. Among the hundreds of interviews he gave, those in this collection catch him at key moments of transition in his ...(展开全部)

弗朗索瓦·特吕弗（1932-1984），法国“新浪潮”电影的创始人之一，生于巴黎。童年由“放浪生活”和逃学组成，14岁开始谋生，在迷恋电影、书籍和做零活中度过。 1953年，他将自己的热情、愤怒和狂热都投入到《电影手册》的制作中。1954年，他拍摄了第一部影片《一次访问》。1958年，他制作的半自传式影片《四百下》获得了戛纳电影节“导演奖”。随之而来的是二十来部影片的拍摄，如《儒尔和吉姆》、《野孩子》、《最后一班地铁》、《星期天快来吧！》等等。其中《美国之夜》获得了奥斯卡奖，希区柯克评价它“是国外曾经拍摄过的最好的影片” 。 特吕弗对希区柯克的友谊从来没有中止过，他们是那么相似：对电影艺术的狂热、严格与激情，对明星的迷恋，还有关于动荡童年的恐惧回忆。作为表现不安状态的艺术家，他们以各自的方式让我们分担他们的烦扰。

弗朗索瓦·特吕弗（1932-1984），法国“新浪潮”电影的创始人之一，生于巴黎。童年由“放浪生活”和逃学组成，14岁开始谋生，在迷恋电影、书籍和做零活中度过。 1953年，他将自己的热情、愤怒和狂热都投入到《电影手册》的制作中。1954年，他拍摄了第一部影片《一次访问》。1958年，他制作的半自传式影片《四百下》获得了戛纳电影节“导演奖”。随之而来的是二十来部影片的拍摄，如《儒尔和吉姆》、《野孩子》、《最后一班地铁》、《星期天快来吧！》等等。其中《美国之夜》获得了奥斯卡奖，希区柯克评价它“是国外曾经拍摄过的最好的影片” 。 特吕弗对希区柯克的友谊从来没有中止过，他们是那么相似：对电影艺术的狂热、严格与激情，对明星的迷恋，还有关于动荡童年的恐惧回忆。作为表现不安状态的艺术家，他们以各自的方式让我们分担他们的烦扰。

The introduction gives an overview of Hitchcock's long career, with special attention to the varied influences on his work; themes that run through many of his films, from the 'transference of guilt', to the connection between knowledge and danger; the overlooked importance of his presence within his films, including his famous cameo appearances and characters who represent him...(展开全部)

The introduction gives an overview of Hitchcock's long career, with special attention to the varied influences on his work; themes that run through many of his films, from the 'transference of guilt', to the connection between knowledge and danger; the overlooked importance of his presence within his films, including his famous cameo appearances and characters who represent him...(展开全部)

In the films of Alfred Hitchcock, architecture plays an important role. Having worked as a set designer in the early 1920s, Hitchcock remained intensely concerned with the art direction of his films. In addition, the ’master of suspense’ made some remarkable single-set films, such as Rope and Rear Window, that explicitly deal with the way the confines of the set relate to those...(展开全部)