Alfred Hitchcock: Master Of Suspense
Alfred Hitchcock was and still is considered one of the best horror directors of all time. He is considered the "Master of Suspense" for his very well written and directed horror films, which have left his mark on the movie-making industry. Hitchcock told his stories through intelligent plots, witty dialogue and just the right amount of mystery and murder with his works Vertigo, Psycho, The Birds and Rear Window .The films revolutionized the Horror/Thriller genre, other filmmakers began mimicking his recipe for a great horror, making him a legend all over the world.
Alfred Hitchcock’s horror movies has the suspense that keeps the audience on the edge of their seats in anticipation, fear and excitement. The exposure and incorporation of
suspense into all of his films made them so deep and addictive. His works led him down a trail of success and failure in his pursuit of fame and fortune. He dealt with a lot of criticism and one remark about him was that he had a really strange personality Hitchcock's first job in the cinema was as a designer of title cards for silent films. Subsequently, he rose to script writer, art director, and assistant director. In 1925, Hitchcock directed his first feature, The Pleasure Garden. However, The Lodger was the first film to display his inimitable style. Motifs to reappear included his interest in cinematic effects, the "transference of guilt" whereby an innocent character is accused unjustly of a crime, and the inevitable appearance of Hitchcock himself. Blackmail, Hitchcock's first sound feature, brought him international fame and led a string of spy thrillers, culminating in The Lady Vanishes and the Thirty Nine Steps. Products of his peak creative period, demonstrate a developing talent for manipulating audience reaction by suspense. At the same time, there surfaced his macabre humor as a means of increasing anxiety.
In 1939, David O. Selznick lured Hitchcock to Hollywood. Hitchcock's first Hollywood film, Rebecca, dealt with another recurring Hitchcock motif where a woman is haunted by a memory of another. As an indication of his American work, Rebecca introduced a new psychological aspect which took several directions. One, the insinuation of unfounded suspicion, is developed in later films, including Suspicion and Shadow of a Doubt. Later work demonstrated his interest in psychodrama. Such films as Vertigo and Marnie explore the depths of a female psyche, while causing the audience to alternately embrace and disdain the heroine.
It provided an ideal setting for Hitchcock's fascination with technical challenges.
He altogether eschewed the "whodunnit" genre by studying the evil inherent in what one already sees. The mass appeal of his films occasionally led reviewers to treat them as popular entertainment instead of cinematic art
Alfred Hitchcock’s horror movies has the suspense that keeps the audience on the edge of their seats in anticipation, fear and excitement. The exposure and incorporation of
suspense into all of his films made them so deep and addictive. His works led him down a trail of success and failure in his pursuit of fame and fortune. He dealt with a lot of criticism and one remark about him was that he had a really strange personality Hitchcock's first job in the cinema was as a designer of title cards for silent films. Subsequently, he rose to script writer, art director, and assistant director. In 1925, Hitchcock directed his first feature, The Pleasure Garden. However, The Lodger was the first film to display his inimitable style. Motifs to reappear included his interest in cinematic effects, the "transference of guilt" whereby an innocent character is accused unjustly of a crime, and the inevitable appearance of Hitchcock himself. Blackmail, Hitchcock's first sound feature, brought him international fame and led a string of spy thrillers, culminating in The Lady Vanishes and the Thirty Nine Steps. Products of his peak creative period, demonstrate a developing talent for manipulating audience reaction by suspense. At the same time, there surfaced his macabre humor as a means of increasing anxiety.
In 1939, David O. Selznick lured Hitchcock to Hollywood. Hitchcock's first Hollywood film, Rebecca, dealt with another recurring Hitchcock motif where a woman is haunted by a memory of another. As an indication of his American work, Rebecca introduced a new psychological aspect which took several directions. One, the insinuation of unfounded suspicion, is developed in later films, including Suspicion and Shadow of a Doubt. Later work demonstrated his interest in psychodrama. Such films as Vertigo and Marnie explore the depths of a female psyche, while causing the audience to alternately embrace and disdain the heroine.
It provided an ideal setting for Hitchcock's fascination with technical challenges.
He altogether eschewed the "whodunnit" genre by studying the evil inherent in what one already sees. The mass appeal of his films occasionally led reviewers to treat them as popular entertainment instead of cinematic art