Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
A Lacanian take on Herrmann/Hitchcock
View through CrossRef
As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema. Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.
Title: A Lacanian take on Herrmann/Hitchcock
Description:
As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock.
Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema.
Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.
Related Results
Bernard Herrmann
Bernard Herrmann
Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and te...
Bernard Herrmann: Hitchcock’s secret sharer
Bernard Herrmann: Hitchcock’s secret sharer
This opening chapter explores the partnership between Hitchcock and Herrmann both as a very special professional connection between a director and composer but also as an intense C...
How could you possibly be a Hitchcocko-Herrmannian?: Digitally re-narrativising collaborative authorship
How could you possibly be a Hitchcocko-Herrmannian?: Digitally re-narrativising collaborative authorship
This final chapter explores the enduring legacy and fascination surrounding the Hitchcock branding. Since his death in 1980, Hitchcock has continued to fascinate audiences, scholar...
Hitchcock's Villains
Hitchcock's Villains
The films of Alfred Hitchcock are appreciated for a variety of reasons, including the many memorable villains who menace the protagonists. Unlike so many of cinema’s wrongdoers, th...
Portentous arrangements: Bernard Herrmann and The Man Who Knew Too Much
Portentous arrangements: Bernard Herrmann and The Man Who Knew Too Much
While Herrmann's twenty-four successful and one failed collaboration with Hitchcock – including films and television programs – featured compositional scoring to some degree, Herrm...
Die stil van my verlange na God: Oor Johann Wihelm Herrmann se verstaan van die ervaring van God
Die stil van my verlange na God: Oor Johann Wihelm Herrmann se verstaan van die ervaring van God
Quenching my thirst for God: On Johann Wilhelm Herrmann's understanding of the experience of God This article, which is divided into two parts, focusses on the conc...
Alfred Hitchcock Presents
Alfred Hitchcock Presents
This chapter reviews the creation and content of the television series Alfred Hitchcock Presents and describes the methods used by the director to sidestep censorship issues on and...
Hitchcock in Ascendance
Hitchcock in Ascendance
This chapter describes Hitchcock’s working relationships during his most productive years as a director. Under terms negotiated by his agent, Lew Wasserman, ownership of the films ...