David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Philosophy Research Archives 11:225-244 (1985)
The auteur theory of film-making (usually attributed in film to the French director Francais Truffaut) is explored with specific reference to the films of Alfred Hitchcock. It is argued that Hitchcocks’s films, in particular his later films, present a common theme which is in fact quite consistent with the outlook of Phenomenological Existentialism, especially as it was espoused by the philosophers Jean-Paul Sartre and Martin Heidegger.To support this position, textual analyses of various films directed and produced by Hitchcock are presented, including Rear Window, The Trouble with Harry, The Wrong Man, and Vertigo. The effects of this approach and its philosophical implications far the film-going audience are also examined
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Gregory Minissale (2010). Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock And. Buñuel. Film-Philosophy 14 (1):174-201.
Aaron Smuts (2007). Review: Hitchcock as Philosopher by Yanal, Robert J. [REVIEW] Journal of Aesthetics and Art Criticism 65 (3):339–341.
Constantine Sandis (2009). Hitchcock's Conscious Use of Freud's Unconscious. Europe's Journal of Psychology 3:56-81.
John Dilworth (2003). Ariadne at the Movies. Contemporary Aesthetics 1 (1).
Edward Halper (2005). Freshman Seminar Film Courses. Teaching Philosophy 28 (4):351-365.
Robert Hopkins (2008). What Do We See in Film? Journal of Aesthetics and Art Criticism 66 (2):149–159.
Jesse Prinz (2011). When is Film Art? Revue Internationale de Philosophie 4:473-485.
Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.
S. C. Guy & L. Cahill (1999). The Role of Overt Rehearsal in Enhanced Conscious Memory for Emotional Events. Consciousness and Cognition 8 (1):114-122.
Jim Hillier (ed.) (1985). Cahiers Du Cinéma, the 1950s: Neo-Realism, Hollywood, New Wave. Harvard University Press.
Jenifer Meynell (1978). Values and Violence: A Study of the Films of Clint Eastwood. Journal of Moral Education 7 (2):109-113.
John Marmysz (2004). Cultural Change and Nihilism in the Rollerball Films. Film and Philosophy 8:91-111.
Shawn Loht (2013). Film as Heideggerian Art? A Reassessment of Heidegger, Film, and His Connection to Terrence Malick. Film and Philosophy 17:113-36.
Mark T. Conard & Robert Porfirio (eds.) (2006/2007). The Philosophy of Film Noir. University Press of Kentucky.
Added to index2011-12-02
Total downloads10 ( #157,162 of 1,167,998 )
Recent downloads (6 months)2 ( #85,305 of 1,167,998 )
How can I increase my downloads?