Abstract
On his 53 feature films, Alfred Hitchcock collaborated with 20 different cinematographers, a list indicative of his wish to provide continuity, yet also to experiment and involve different perspectives. Heinke shows how the hiring of a new cinematographer often marked a caesura and a period of artistic re-orientation for Hitchcock, particularly in the 1940s, when he sought to find a distinct style for himself in the American studio context. Heinke examines which influences individual cinematographers (including Bernard Knowles in Britain and Robert Burks in the USA) had on the visual texture of Hitchcock’s films, and he interrogates the complex question of an authorship of the cinematic découpage by asking whose hand really moves the caméra stylo (A. Astruc).
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Heinke, R.H. (2017). Between Caméra Stylo and the Making of Images: Hitchcock’s Cinematographers. In: Schwanebeck, W. (eds) Reassessing the Hitchcock Touch. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-60008-6_3
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