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A Pedagogy of CinemaSemio-Materialism and the Master of Relations

A Pedagogy of Cinema: Semio-Materialism and the Master of Relations [This chapter analyses the films of Alfred Hitchcock in the light of ‘a pedagogy of cinema’, and explains how Hitchcock’s images construct meaning in their very movement and passing. The argument in this chapter is that Hitchcock is better interpreted without a singular, obsessive focus on his Catholic background, his larger than life personality, without ad hominem recourse to concepts such as original sin, a guilty subject or a God demanding retribution (Deleuze, 1986).] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Pedagogy of CinemaSemio-Materialism and the Master of Relations

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References (20)

Publisher
SensePublishers
Copyright
© SensePublishers-Rotterdam, The Netherlands 2016
Pages
79 –97
DOI
10.1007/978-94-6300-555-5_5
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter analyses the films of Alfred Hitchcock in the light of ‘a pedagogy of cinema’, and explains how Hitchcock’s images construct meaning in their very movement and passing. The argument in this chapter is that Hitchcock is better interpreted without a singular, obsessive focus on his Catholic background, his larger than life personality, without ad hominem recourse to concepts such as original sin, a guilty subject or a God demanding retribution (Deleuze, 1986).]

Published: Jan 1, 2016

Keywords: Mental Image; Pure Possibility; Rear Window; Mental Relation; Pure Cinema

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