Rear Window Timelapse

Rear Window Timelapse by Jeff Desom/Alfred Hitchcock.

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Studies for Spellbound — Salvador Dali

(See the full film…)

Spellbound — Alfred Hitchcock (Full Film)

Hitchcock Poster (Stage Fright) — Marek Freudenreich

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Saw this in a book of Hitchcock posters at the bookstore the other day—it was attributed to “Marek Frevdereich” in the book though. Anyway, I found it online in this wonderful collection of movie posters (I love the one for Deconstructing Harry especially).

Warhol and Hitchcock

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Andy interviews Alfred.

Alfred Hitchcock’s Secret Agent (Full Film)

Alfred Hitchcock’s The 39 Steps (Full Film)

Alfred Hitchcock’s The Lady Vanishes (Full Film)

Alfred Hitchcock Distinguishes Mystery from Suspense

“I’m Frightened of Eggs” — Alfred Hitchcock

Alfred Hitchcock apparently didn’t care for eggs over easy. Or probably eggs at all. I love a runny yolk over some grits or hash browns.

I’m frightened of eggs, worse than frightened, they revolt me. That white round thing without any holes … have you ever seen anything more revolting than an egg yolk breaking and spilling its yellow liquid? Blood is jolly, red. But egg yolk is yellow, revolting. I’ve never tasted it.

Slavoj Žižek on Hitchcock’s Angles

Slavoj Žižek on Alfred Hitchock. From The Pervert’s Guide to Cinema (2006).

Alfred Hitchcock’s Death Mask

DeLillo Goes Psycho

Okay. We admit that’s a stupid headline. Anyway.

We dove into our review copy of Don DeLillo’s latest novel (it’s really a novella, despite claims made by its cover and press materials) Point Omega last night. It opens with a protracted scene of a man at the 2006 MOMA showing of Douglas Gordon’s videowork, 24 Hour Psycho. Gordon’s project, first presented in Glasgow and Berlin in 1993, slows Alfred Hitchock’s classic Psycho to a crawl, stretching the entire film over 24 hours.

DeLillo’s description:

The slightest camera movement was a profound shift in space and time but the camera was not moving now. Anthony Perkins is turning his head. It was like whole numbers. The man could count the gradations in the movement of Anthony Perkins’ head. Anthony Perkins turns his head in five incremental movements rather than one continuous motion. It was like bricks in a wall, clearly countable, not like the flight of an arrow or a bird. Then again it was not like or unlike anything. Anthony Perkins’ head swiveling over time on his long thin neck.

Ah, DeLillo — “it was not like or unlike anything” — redact your own similes. There’s also this classic DeLilloian line in the episode, somehow both concise and oblique: “The film made him feel like someone watching a film.” Maybe watching this 35 second YouTube clip of 24 Hour Psycho will make you feel like someone watching a 35 second YouTube clip of 24 Hour Psycho.