Read El cine según Hitchcock by François Truffaut Online


Un libro tan clásico como extraño en la bibliografía sobre el séptimo arte es “El cine según Hitchcock”, de François Truffaut. Y es extraño porque muestra a un director de cine hablando con gran claridad y coherencia sobre su propia obra. Pensemos que, en el momento de producirse las entrevistas en que se basa en libro (finales de los años 60), Hitchcock aún estaba en actiUn libro tan clásico como extraño en la bibliografía sobre el séptimo arte es “El cine según Hitchcock”, de François Truffaut. Y es extraño porque muestra a un director de cine hablando con gran claridad y coherencia sobre su propia obra. Pensemos que, en el momento de producirse las entrevistas en que se basa en libro (finales de los años 60), Hitchcock aún estaba en activo, por lo que no se trata de hacer una retrospectiva autocomplaciente de una obra cerrada y finiquitada.El libro nace de la cinefilia francesa. Lo bueno que tiene la “Nouvelle vague” es que sus integrantes –Truffaut, Godard, Chabrol, Rohmer y un largo etcétera- eran críticos de cine, teóricos que decidieron llevar a la práctica sus ideas. Truffaut es un gran entrevistador porque no es pedante (aquí se ve su vertiente de cronista) ni tampoco un ignorante que pregunta sin conocimiento de causa: el diálogo que se establece en “El cine según Hitchcock” es tan convincente que uno acaba el libro convencido de que la teoría de Hitchcock es la única válida para hacer películas....

Title : El cine según Hitchcock
Author :
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ISBN : 9788420638560
Format Type : Paperback
Number of Pages : 416 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

El cine según Hitchcock Reviews

  • Jeffrey Keeten
    2018-10-10 16:23

    ”To reproach Hitchcock for specializing in suspense is to accuse him of being the least boring of film-makers; it is also tantamount to blaming a lover who instead of concentrating on his own pleasure insists on sharing it with his partner. The nature of Hitchcock’s cinema is to absorb the audience so completely that the Arab viewer will forget to shell his peanuts, the Frenchman will ignore the girl in the next seat, the Italian will suspend his chain smoking, the compulsive cougher will refrain from coughing, and the Swedes will interrupt their love-making in the aisles.”Francois Truffaut and Alfred HitchcockFrancois Truffaut, a renown filmmaker in his own right, convinced Alfred Hitchcock to sit down for an interview that would cover the span of his career up to 1966. They recorded over fifty hours of tape over several days and the result is this book. It is written in interview form lending it a tennis match feel of the reader actually being there swiveling our head from one person talking to the next person replying. It is absurdly good. I lost sleep on more than one night because I just couldn’t bear to put it down...just one more chapter I would reassure the part of brain that was wanting to go to bed. The book is brimming with photographs of his films and also of Hitchcock working on set. Even if someone didn’t want to read the book, which would be a shame, the pictures alone are worth owning this book. ”During a Hollywood press conference in 1947, Alfred Hitchcock stated: ‘I aim to provide the public with beneficial shocks. Civilization has become so protective that we’re no longer able to get our goose bumps instinctively. The only way to remove the numbness and revive our moral equilibrium is to use artificial means to bring about the shock. The best way to achieve that, it seems to me, is through a movie.’”My son is getting ready to start, in a few short weeks, at the University of Kansas majoring in History, and minoring in film. He has always been interested in movies, but mostly recent movies so this summer under the guise of... well of course if you are going to study film you can’t show up to class not having seen at least the most important Hitchcock films. I convinced him to go on a tour of suspense films with me. It turns out he is a chip off the old block. The first Hitchcock film I ever remembering seeing was The Birds.It scared the crap out of me.I don’t know how old I was, but probably the perfect age to have my mind warped ever so slightly by experiencing this terrifying spectacle of birds, these creatures we see everyday that decided for no definable reason to start attacking people. I thought that Tippi Hedren was the most beautiful woman in the world until I saw Grace Kelly in Rear Window.*Sigh*Did anyone else feel the urge to boink Jimmy Stewart on the head every time he was dismissive of Grace Kelly?The joy for me was watching my son watch these movies. That famous scene when Grace Kelly is over at the murderer’s apartment searching for clues and we can see the murderer returning is probably still one of the most tension filled moments in cinematic history. My son pulled one leg up and pressed his face against his knee and put a hand to the other side of his face as if he were shielding himself from a blow. His eyes were of course riveted to the screen. Joseph Cotten’s wife had a similar reaction. Alfred Hitchcock Of course, when the character is attractive, as for instance Grace Kelly in Rear Window, the public’s emotion is greatly intensified. As a matter of fact, I happened to be sitting next to Joseph Cotten’s wife at the premiere of Rear Window, and during the scene where Grace Kelly is going through the killer’s room and he appears in the hall, she was so upset that she turned to her husband and whispered. ‘Do something, do something!’I can’t think of a better compliment to a director than to see an audience so caught up in your movie that they feel they are IN the movie. Hitchcock was famous for his blondes. I mentioned already Tippi Hedren, and Grace Kelly, but there was also Janet Leigh in Psycho. There was discussions about filming that movie in color instead of black and white, but lucky for us Hitchcock decided to stick with black and white. He filmed a scene that made the whole world afraid to take a shower. The details are spectacular and would have been lost in the garish splash of blood if color had been present. His leading ladies were elegant and sophisticated which lent more tension to the plot as their circumstances became more perilous. Hitchcock explains his views of his leading ladies.Hitchcock: Sex on the screen should be suspenseful, I feel. If sex is too blatant or obvious, there’s no suspense. You know why I favor sophisticated blondes in my films? We’re after the drawing-room type, the real ladies, who become whores once they’re in the bedroom. Poor Marilyn Monroe had sex written all over her face, and Brigitte Bardot isn’t very subtle either. Truffaut: In other words what intrigues you is the paradox between the inner fire and the cool surface.Hitchcock: Definitely, I think the most interesting women, sexually, are the English women. I feel that the English women, the Swedes, the northern Germans, and Scandinavians are a great deal more exciting than the Latin, the Italian, and the French women. Sex should not be advertised. An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she’ll probably pull a man’s pants open.Hitchcock and Truffaut discuss every film. One point in one film moves them to another point in another film. Hitchcock is very candid about what he did wrong and when he was right and when everyone else was wrong. They discuss nuances that even though I’ve watched a film several times I’ve never noticed. For instance: in Shadow of a Doubt when Joseph Cotten is arriving in town on the train, the smokestack is boiling out black smoke as if to herald the arriving of the Devil. At the end of the film when the train is leaving the station the smoke is white. Reading this book will increase your enjoyment when you rewatch his films. If you have not seen many of his films be sure to avoid the footnotes discussing the plots of the films being discussed. Watching these films with my son has been to quote the Mastercard commercials...priceless. TCM is devoting the month of September to Hitchcock and I wish that Caleb was still going to be at home to watch them with me, but we will be coordinating what films to be sure to watch with his school schedule and my work schedule and the discussions we have afterward will still be...priceless. If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.comI also have a Facebook blogger page at:

  • Orsodimondo
    2018-09-30 11:19

    SOGNI AL BUIOQuando Hitch è morto lo ricordo bene.E non avevo ancora letto questo libro.Il giorno che è morto era un martedì. Martedì 29 aprile 1980. Io vivevo a Palo Alto da qualche mese e stavo lavorando alla ristrutturazione di una casa attaccata dalle termiti. Quello che dovevo fare ricordava molto quello che nella pubblicità della Plasmon faceva l’uomo che scolpiva la scritta con un martellone: data la mia scarsa esperienza in materia, continuavo a sbagliare la mira, e la mano che reggeva lo scalpello era gonfia come una zampogna. Oltre l’inesperienza, direi che ero anche indotto a sbagliare mira da quanto avevamo trovato nel capanno degli attrezzi, un bel ramo pieno di foglie lasciate a essiccare. Tra le altre cose che ricordo c’è che dovevo incunearmi sotto le fondamenta per fare non ricordo cosa: ma ricordo bene che il mio boss, Pavel, mi disse di stare attento ai procioni, avrei potuto imbattermi in qualcuno di loro, hanno unghioni e possono essere aggressivi (sui procioni-raccoons potrei aprire un capitolo a parte, ma mi sembra d’aver già divagato abbastanza).Così, quel martedì 29 aprile 1980, all’ora di pausa, apro il giornale e apprendo della morte di Hitch.Sono stato fortunato: qualche suo film sono riuscito a vederlo al cinema, uno o due freschi d’uscita, altri recuperati nei cineclub e cineforum e sale d’essai e terze visioni e circuiti Arci e…Pochi giorni fa, al Pacific Film Archive, maestosamente rinnovato, ho visto in una sala gremita il documentario di Kent Jones intitolato Hitchcock/Truffaut che racconta la nascita di questo libro. Sono andato con un amico e suo figlio, che sono riuscito a convincere a seguirci ed è rimasto molto contento d’essere venuto con noi. Prima di entrare ci siamo guardati un po’ di collezione dell’annesso museo d’arte moderna.Nel 1962, Truffaut andò a Los Angeles e per una settimana incontrò Hitchcock nel suo ufficio agli Universal Studios. Erano presente agli incontri solo una interprete e un fotografo.Truffaut era un critico dei Cahiers du Cinéma, aveva già diretto solo tre capolavori (I quattrocento colpi, Tirate sul pianista, Jules e Jim), mentre Hitchcock aveva un curriculum lungo un paio di quaresime.Si trovarono bene, andarono d’accordo, erano entrambi dotati di buona ironia. Truffaut faceva domande intelligenti e Hitch dava risposte altrettanto intelligenti. Il regista inglese godeva dell’ammirazione del più giovane collega francese: finalmente i suoi film venivano considerati non solo successi commerciali, ma anche opere d’arte.Nel documentario si vedono interviste a James Gray, Martin Scorsese, Paul Schrader, Wes Anderson, David Fincher, Arnaud Desplechin, Olivier Assayas, Peter Bogdanovich, Kiyoshi Kurosawa e Richard Linklater.Il libro uscì nel 1966 ed è un’opera fondamentale per chiunque voglia fare cinema. E non solo: è una lettura piacevole divertente scorrevole istruttiva per tutti. Anche per quelli che hanno smesso di andare in una sala, sedersi ad aspettare che le luci si spengano e godersi il sogno che incomincia quando si accende il proiettore.

  • Jaksen
    2018-10-19 17:34

    Loved this.I didn't know this book existed! It's actually a transcript of a fifty-hour interview (done over several days) which Truffaut conducted with Hitchcock. The historical appeal alone was enough to make me WANT the thing, let alone read it. Some critics (of this book) have indicated that Truffaut was too kind to Hitchcock, that he agreed too readily with his opinions, that he couched his questions gently, but what the heck? I disagree! Because they two often DO disagree on certain points of film-making and story-telling, but they do so respectfully, without rancor, I mean - like gentlemen?But the great thing about this record of Hitchcock's opinions, ideas, and thoughts on both the stories he told through film and HOW he did this, including mistakes he felt he made and how he'd 'fix' them, if he could, was the fact it even exists at all. What a record! This was a totally unprecedented and totally unexpected thing Truffaut did, and done at a time when Hitchcock still wasn't given a lot of respect for his work. His critics complained he was a mere director of 'thriller' movies, not serious film. But Truffaut did take Hitchcock seriously and methodically went through all the films, good and bad, which Hitchcock directed. By doing so he created a permanent record of Hitchcock's personal thoughts, ideas, and so on - taken directly from the most primary of primary sources, the master of the modern thriller himself!Hitchcock died before special effects, computer-generated images and sequences, etc. came on board, but what he did with what he had was truly remarkable AND influenced and affected directors and writers to this day. The way he used the camera, the way he pulled in or back, or shot around shadows or got a lot out of a tiny gesture or movement - it's all there. There's also a good deal about how he handled dialogue - less is more; and the fact he continually was trying to 'show' the story, not 'tell it.' (He disdained nothing more than people standing around talking or explaining, and this is something that writers struggle to do today as well. SHOW the story. Don't TELL it to us.)We know Hitch's favorite films and the ones he hated. He was even quite indifferent about a few. We know how he was limited by the film-making techniques of his day - and how he often overcame those limits. We know what he thought and felt about his 'cold' leading ladies, the parade of blondes who came to be so important in his films. (He thought the perfect and most sensual of women were the English girls who'd appear to be so correct on the surface, but could turn into a tiger in, of all places, a taxicab.) As I already said, Truffaut didn't agree with Hitch on everything, but I enjoyed reading about two men who obviously liked and respected one another, and yet could disagree on certain points and just keep on going: talking, discussing, arguing, digressing, etc. Anyhow, I loved this book. I want to own it, and right now I don't. (This was a library borrow.) But I shall get my hands on a copy of my own...somehow, some way.Five huge big stars!

  • Nilufar
    2018-09-26 14:32

    یک رمان ممکن است در ترجمه لطف خود را از دست بدهد، نمایشی که شب اول خوب بازی شد ممکن است طی بقیه شب ها بی رنگ و حال شود ولی فیلم سراسر جهان را طی میکند.بشرط اینکه فیلم پانزده درصد اثرش راوقتی که زیرنویس شود, ده درصد اثرش را موقهی که دوبله شود از دست بدهد ولی تصویر حتی اگر دستگاه نمایش ایراد داشته باشد دست نخورده باقی می ماند این کار شماست که روی پرده می آید و هیچ چیز نمیتواند دگرگونش کند .شما حرف خود را در همه جا به یک زبان بیان میکنید

  • Shawn Nuzzo
    2018-10-15 14:36

    This book will teach you more about the art of film making than 4 years (and $200,000) at NYU will.

  • Ali Frz
    2018-10-06 12:39

    کتابو خیلی وقت پیش خریدم و منتظر بودم تا یه موقعیت مناسب بخونمتا اینکه با مستند محشرHitchcock/Truffautمواجه شدم و دانستم که مرا دیگر از او گریز نیست!------------------------------------این کتاب به انجیل کارگردانان معروف است ولی به نظر من این کتاب، آخرین معجزه‌یِ آخرین پیام آورِ سینمای کلاسیک است. هرچیزی که هیچکاک توصیه کرده است تا قیامت حلال است و هرچه او ممنوع کرده تا قیامت حرام!

  • Lynne King
    2018-10-20 16:20

    This book is about the two film directors Hitchcock and Truffaut. It is a wonderful book and Jeffrey has written a superb review today on this.So my advice is to read Jeffrey's review and then purchase this book. It is an historical document of the film world.A gem to have.

  • Ste Pic
    2018-10-17 14:37

    La finestra sul cinema - rewind Ripropongo il commento su questo splendido testo perché ieri sera ho visto al cinema il documentario proprio ispirato alla famosa serie di interviste che Truffaut fece nel ’62 negli studi della Universal a L.A. a un Hitchcock famosissimo e però poco considerato dai critici americani, mentre era adorato dagli europei. Truffaut, che aveva allora 30 anni, ma era già un apprezzato e premiato autore della nouvelle vague , nonché critico e animatore, assieme a tanti altri colleghi (Rohmer, Rivette, Godard, Chabrol…) , della mitica rivista fondata nel '51 da André Bazin, Cahier du Cinema, si preparò meticolosamente all’intervista che mirava a mettere in luce le originali e eccezionali capacità autoriali dell’intervistato. Il film nasceva con buone premesse per la preparazione e passione di tutti i soggetti coinvolti nell’operazione (regista è Kent Jones direttore del New York Film Festival, co-sceneggiatore del bellissimo Il mio viaggio in Italia di Scorsese, uno degli sceneggiatori è Serge Toubiana, critico e ex direttore proprio dei Cahiers du Cinéma",) – ma è tutto sommato deludente: si ha l'impressione che scavi troppo in superficie rispetto al libro e il risulti spezzettato e frammentario. Non sono bastati a renderlo efficace gli interventi di Martin Scorsese, Peter Bogdanovich, Wes Anderson e altri noti registi e critici. In realtà la cosa più interessante è proprio risentire la voce di Hitch che, parlando di Psycho, dice a Truffaut: -cito un po’ a memoria- “il soggetto era orribile, i protagonisti insignificanti, i personaggi assenti, me è un film che appartiene ai registi a me e a lei” come dire il film è e deve essere una creazione artistica interamente nelle mani del regista! vecchio commento:Questo è un libro imprescindibile per tutti quelli che amano il cinema. E' impressionante come Francois Truffaut, in una serie di sedute fiume, abbia intervistato Hitchcock mostrando una preparazione stupefacente su ogni singolo fotogramma di tutta la filmografia del regista inglese. La capacità di analisi di Truffaut , che solo un regista del suo talento poteva avere, riesce a scavare in profondità e portare allo scoperto Hitchcock su scelte stilistiche, montaggio, personaggi, psicanalisi, eros... Tutti e due i registi emergono dal libro come giganti, ma l'aspetto che ho trovato più sfizioso è la maniacale attenzione al pubblico e al successo di botteghino che aveva Hitchcock e la sua dichiarazione quasi ingenua sulla volontà di utilizzare i luoghi comuni per rafforzare la comprensione delle immagini: se il film è girato a Parigi si deve vedere la Tour Eiffel. Bella anche la dichiarazione programmatica sul fatto che le storie dei suoi film dovrebbero essere comprese anche senza l'utilizzo del sonoro: la forza e le sfumature anche psicologiche sono tutte nelle immagini, in quello che svelano e in quello che nascondono.

  • Kyle Sullivan
    2018-10-19 16:18

    I just reread this book, because it shifted my focus from being an artist to being a filmmaker (and now writer), and I'm not overstating. I was making a living designing and building backdrops for visual merchandising and doing display windows in San Antonio, as well as commissioned works of art, when I found an early edition of Truffaut's interview with Hitchcock and got my first idea of how films were made. In fact, this book should be a primer for all film classes; once you've read it, you've got a good foundation in how to make a movie.Now I'm not talking about the technical aspects of moviemaking -- lighting, sound, working with today's actors unlike yesterdays stars (who weren't really all that less difficult to deal with), things like that. I mean the visual needs and limitations of telling a story on film. Hitchcock and Truffaut do a lot of commenting on how to use images to forward the story and how much more important that in in this medium...and how you can trick the audience but you cannot lie to them.For instance, when he made "Sabotage" in 1936, Hitch has an anarchist give an innocent boy a bomb to carry to another location. The kid thinks it's just a reel of film in a movie canister. The bomb is set to go off at 1pm, during a parade, but the boy's delayed. He gets on a bus to make up time, sits next to a nice old lady and a puppy and plays with it. But the bus is caught in traffic (due to that parade) and the suspense builds and builds and builds until the bomb goes off, killing everyone on the bus. It's a horrifying reminder of what terrorism is all about.The audience was furious and the movie was a flop. Why? Because he'd ostensibly offered up a piece of fun entertainment and then, without warning, shoved the audience's face in the brutality of life. You don't tell someone you'll give them a kiss...then punch them in the face and assume they will accept that. I've seen other movies make this same mistake, and even though they're fine films they crash and burn with the moviegoers. Hitchcock would still toy with the audience's emotions in movies like "Vertigo" (which hurt its box office but not its standing as a work of art) and "Psycho" (where he was a bit more careful in leading up to the famous shower sequence), but he never flat-out lied to them, again.But then, Hitchcock knew film was an odd art form that didn't have the full freedom of true art and shouldn't be taken too seriously. Too many people were involved in its creation, and the audience is too important a part of the final result. This book backs up his assertions about that. His famous quote, in fact, is -- "It's only a movie." But by the time you've finished reading this extended version of the first edition of the book, you'll see that the medium is also one that is fit for artists who truly understand it. Reading this book will help them find that understanding.

  • Mohamed Elmasry
    2018-10-15 11:28

    _ من أهم الكُتب السينمائية اللي قريتها في حياتي، ومن أهم تَجارب القراءة اللي مرَّت عليَّ خلال العامين الأخيرين، وفي آخره.. بيتحوَّل بشكل مُدهش لمرثيَّة عَظيمة عن العَجَز والشيخوخة- أهميته السينمائية: إن من أكتر الحاجات اللي بتعلّم بشأن السينما هو رؤية صناع الأفلام وهما بيحكوا عن أفلامهم، كان بيفكَّر في إيه لما صور المَشهد الفلاني، أو خده بالزاوية الفلانية، ليه قطع القطعة دي هِنا، هيتشكوك شخص غني جداً بالقيمة، الطريقة اللي طوَّر بيها السينما وكان بيكتشفها، في مُقابل حِفاظه الدائم على خط موصول مع الناس، ده كان عظيم جداً ومُفيد جداً- تجربة القراءة: إني كُنت بَشوف الأفلام قبل ما أقرا الأجزاء اللي تخصَّها، أو أرجع للمشاهد اللي هو بيتكلم عنها، ده خلَّاني أقرا الكتاب في قرابة الشهر، بس كمان كان مُمتع لدرجة لا تُوصَف- الحوار بيتوقف في سنة 1964، قبل 16 سنة تقريباً من وفاة هيتشكوك، وفي الطبعة اللي قريتها.. كان في آخره فيه مَقال طويل جداً، قرابة الخمسين صفحة، كتبه تروفو بعد موت الراجل، بيحكي فيه عن السنوات الأخيرة في حياته، اللي كانت الأصعب على المستوى العملي، كيف كان العالم يتغيَّر، والمزاج العام يميل ناحية التلفزيون، والقواعد اللي تعامل بيها وأسسها هيتشكوك طول حياته بيتم نسفها من قِبل الشركات المُنتجة، إزاي كان بيتعرَّض للضغط منهم بشكل أكثر من المُعتاد، وإزاي كان بيحاول يعمل أفلام، وليه الأفلام كانت بتفشل لإن الراجل، ببساطة، بيكبر، وإزاي دي كانت فكرة كابوسية بالنسبة له، وكل فشل مُحْتَمَل هو ألم لا يوصفكنت بفكر وقتها إن الكتاب كله عمل أدبي، رواية مَسرودة بشكل غير مُعتاد، وبعد ما تابعت حياة هيتشكوك على مدار خمسين سنة، دخوله السينما، صعود اسمه، تحوله لأنجح مخرج هوليوودي، لحظات النجاح والفشل، بييجوا آخر 50 صفحة دول كفصل أخير في الرواية، بمُعايشة مُدْهِشَة لكل المشاعر اللي بيمر بيها راجل عجوز في سنينه الأخيرة"كيف كان علينا أن نتعامل مع شيخوخة رجل عظيم؟"ألف رَحمة ونورملحوظة شخصية: ده أول ريفيو أكتبه هنا بعد 8 شهور تقريباً من التوقُّف#فبراير 2014

  • Víctor Galán
    2018-09-26 18:26

    Una de las biografías imprescindibles para entender el cine clásico y su evolución en la forma y en el fondo que ha tenido este arte durante la segunda mitad del siglo pasado. "El cine según Hitchcock" es la recopilación de una serie de entrevistas que el famoso director y actor francés François Truffaut le hizo al genio británico durante catorce años. En esta obra se expone con una claridad (muy agradecida todo hay que decirlo) la metodología y técnicas que Hitchcock utilizó durante el medio siglo que estuvo dirigiendo y que nos han permitido disfrutar de algunas de las mayores obras de arte del siglo XX, como "Rebeca", "Vértigo", "Con la muerte en los talones", "La ventana indiscreta" o "Náufragos".El cine de Hitchcock tiene como único objetivo llenar las salas de cine haciendo disfrutar al espectador tanto de manera intelectual (impidiendo que sepa lo que va a pasar) como emocional (introduciendo elementos violentos, humorísticos y sexuales). Partiendo de esta base, el director aconseja que elementos estéticos tiene que tener en cuenta el director, como mover la cámara, mientras que recomienda encarecidamente la creación de storyboards, la visualización minuciosa en la cabeza de la película y la certidumbre de que lo único que le tiene que importar al director es lo que aparece en pantalla. Para Hitchcock el cine ideal es el cine puro, es decir, aquel donde los diálogos son completamente prescindibles y todo se puede contar con imágenes. Quizá el mejor ejemplo personal de esto fuera en esa joya llamada "Los pájaros" donde se puede disfrutar por igual con sonido o sin él.En el cine de Hitchcock rara vez hay lugar para la improvisación o modificaciones en el guión, las interpretaciones se caracterizan por ser bastante naturales, dando escasas indicaciones sobre como actuar o no, dejando que sean los propios actores los que exploren libremente a partir de las pautas que aparecen en el storyboard. A través del movimiento de cámara Hitchcock consigue que el espectador no sepa lo que va a pasar, para conseguirlo mantiene en todo momento, en las escenas de tensión el mismo tipo de plano, siguiendo al actor, salvo en aquellos momentos donde busque impactar visualmente como en la famosa escena de la ducha de "Psicosis". El montaje es también imprescindible y está muy cuidado, Hitchcock enfocaba sus películas para que no sobrara apenas material y así simplificar el proceso de edición para que la historia se contara prácticamente sola sin necesidad de trucajes de postproducción (aunque evidentemente esto no era siempre posible).El tema de sus películas era casi siempre la misma, un falso culpable que es perseguido sin saber por qué, donde el sexo, la muerte y las siempre adecuadas dosis de humor campan a sus anchas. Gracias a la universalidad de estos temas, Hitchcock es admirado en todo el mundo y la extensa ramificación y representación de estos temas le permiten "jugar" como quiere con ellos.En el plano personal resultó ser una persona muy humilde e introvertida, poseedor de una extraordinaria memoria, tenía una mente perfectamente amueblada, lo que le permitió vivir con gran tranquilidad y disfrute durante casi toda su vida, transmite siempre paz y serenidad, posee un sano sentido de autocrítica y un ácido sentido del humor. Era elegante y educado, obviamente observador y analítico, metódico y cuidadoso y rara vez perdía los papeles. La motivación cinematográfica de Hitchcock pudo tener sus orígenes en su infancia, marginado por su obesidad, el director comenzó a aislarse de su entorno y a empezar a interesarse por el mundo del arte y a desarrollar un vasto mundo interior del que hoy gozamos todos. Comenzó su carrera en Alemania, diseñando carteles para películas expresionistas y fue allí donde observó el proceso de creación de algunos grandes autores que allí trabajaban como Murnau o Lang y donde aprendió el oficio. Luego regresó a Inglaterra donde empezó a trabajar como guionista y luego ayudante de dirección, hasta que finalmente empezó a dirigir, entre otras, la primera película sonora de la Historia del cine británico "La muchacha de Londres". A partir de ahí no hizo más que romper los límites y mejorar el cine y la vida. Un personaje a quien admirar tanto desde el plano profesional como en el artístico y el personal. Un libro imperdible.

  • Ahmad Sharabiani
    2018-10-17 10:30

    Alfred Joseph Hitchcock‬ (1899 - 1980), François Truffaut (1932 - 1984)عنوان: سینما به روایت هیچکاک؛ اثر: فرانسوا تروفو؛ با همکاری: هلن جی. اسکات؛ مترجم: پرویز دوائی؛ مشخصات نشر: تهران، انتشارات صدا و سیمای جمهوری اسلامی ایران، 1365، در 288 ص، مصور، عکس، شابک: 9644351886، شابک چاپ چهارم: 9789643769369؛

  • مهرداد اصیل
    2018-09-25 13:40

    یقیناً یکی از خوندنی‌ترین گفت‌وگوهایی بود که درباره سینما و فیلم و روایت خوندم تا حالا. هیچکاک تو این گفت‌وگو تقریباً تمام فیلم‌هاش صحبت می‌کنه، پس اگر فیلم‌ها رو دیده باشید بیشتر لذت خواهید برد ازش. جز این هم کتاب درجه یکی است؛ هیچکاک از شگردهاش صحبت می‌کند و توضیح می‌ده که سینما چیه و زبان سینما چگونه است، درباره روایت و شیوه‌های روایت صحبت می‌کنه و... تروفو هم در نقش یک هوادار سینمای هیچکاک و عشق سینمای او پرسش‌ها و نظرات خودش رو مطرح می‌کنه

  • David Rain
    2018-10-11 17:18

    There’s a brilliant moment in Truffaut’s introduction in which he explains why suspense, far from being a mere trick or incidental effect, is in fact of the essence of cinema, indeed, of narrative itself: “Suspense is simply the dramatisation of a film’s narrative material, or, if you will, the most intense presentation possible of dramatic situations.” Which is one reason, perhaps, why Hitchcock, the wonderfully perverse genius behind Rear Window, Vertigo, Psycho, The Birds and a host of other classics, was the definitive film director; and this long, large-format, lavishly-illustrated book is the ultimate celebration in book form of his life and work. Distilled from over fifty hours of taped interviews with Hitchcock, this sustained dialogue between two great directors is required reading for anyone interested in film, and anyone interested in storytelling too. You won’t learn everything about Hitchcock here; you should also read Donald Spoto’s biography, The Dark Side of Genius (1982), for a start. But it’s notable just how many of the best Hitchcock quotes in Spoto come straight from the Truffaut book. The first English-language edition, from 1967, is worth getting hold of, if you can find a copy, because it’s a beautifully designed book. But for content, it’s the 1983 update which is best, featuring additional interviews recorded after 1967, as well as Truffaut’s reflections on Hitchcock’s final years.

  • Raquel
    2018-10-21 16:44

    Alfred Hitchcock is considered to be one of the best directors of all time but that wasn't always the case. At the height of his career, many critics saw Hitchcock as a commercial director whose films thrilled audiences with their suspense but weren’t meant to be taken seriously. All that changed when French director François Truffaut drastically altered the narrative of how we discussed Hitchcock’s work and he did so with this book.This is film school in book form. Never have I read a book so full of enlightening information about the film-making process. I learned so much from both directors on how to build suspense, expert use of the camera as storyteller and how stories are adapted. This book is chock-full of these kinds of insights. And for Hitchcock fans, myself included, there are lots of behind-the-scenes trivia bits that will delight and inform. Full review, with photos and lots and lots of quotes, can be found here:

  • Zioluc
    2018-10-17 17:27

    Truffaut intervista Hitchcock. Da leggere. Leggetelo.

  • Joshua
    2018-10-13 13:25

    Like Lynch on Lynch I did not read the entirety of this book so my review should be taken with a grain of salt. I enjoyed these interviews, because the exchange between Hitchcock and Truffaut really allowed for an interesting examination of cinema as an art form and how the artist crafts their style and voice through their work. Hitchcock as a director was a man who seemed far more concerned with the medium than he was about critical concern or even whether or not his actors were happy. He was wanted to experiment with the form and connect with audiences, and for this I can't really fault him too much.My only concern with the book was that while it was interesting digging into each of Hitchcock's pictures, there were some dialogues that really could have pushed deeper into the medium of film and how Hitchcock was playing and re-inventing, or else Truffault could have prodded him deeper.Still this collection is a must for the reader who considers themselves either a cinemaphile, an aspiring director, or else a serious critic of film.

  • James
    2018-10-19 15:24

    Always heralded as one of THE great books on cinema and the best, supposedly, on Hitchcock, these documented interview sessions with the great French director Francois Truffaut and Alfred Hitchcock is as good as reported. This was a revised edition that includes an addendum by Truffaut after Hitchcock's death in 1979. It is full of insights both by Truffaut and Hitchcock and has a great amount of photographs. At times Truffaut gets a bit stuffy and opinionated and corrective of the choices Hitchcock made in his great work and at times, it appears, that Hitchcock gets a bit ... politely annoyed. The reader is treated to the reason why Hitchcock featured mostly blondes in his films and the answer was quite sexually surprising. Hitchcock cared ONLY about the visual and the set pieces, while the actors were just there to move it along. Even so, his work is some of the most memorable pieces of cinema experience in history.

  • Ben
    2018-09-25 10:21

    "Good evening, students of the macabre." Hitchcock is a comprehensive study of the films of the great British-American director Alfred Hitchcock, which explores every one of his films from the beginning of his career up to Torn Curtain (1966). After Hitch's death, Truffaut apparently updated the work to include Hitchcock's final films. The book, like Objects of Desire: Conversations with Luis Buñuel or such works as Godard on Godard or Fellini on Fellini, is a collection of interviews. What makes it unique, however, is that Hitchcock’s interviewer is not just a film critic (though he was that, too), but a great director in his own right: Franҫois Truffaut, the director of such classics as The 400 Blows, Jules and Jim and Shoot the Piano Player.Although the two directors have linguistic and cultural differences and though they each have different directorial styles, they both speak the language of cinema. And one gets the impression that they both value one another’s work, with Truffaut a greater admirer of Hitchcock for obvious reasons – likely because of Hitchcock’s influence on filmmakers like Truffaut and his contemporaries and on cinema in general, for Hitch had already (at the time of these interviews) worked in cinema for nearly 50 years as a title maker and assistant director, then as a director of films in both America and Britain and of both silents and talkies. The interviews took place over the course of a week in an office at Universal Studios and due to a language barrier there was a translator – Helen Scott – who served as the communication bridge between the two great directors. In these interviews Hitchcock comes across as a relatively easy interview subject (at least much more so than was the case in similar books on directors that I’ve read), eager to discuss his films and his methods and style as a director. Perhaps this is partly owed to the fact that he made more commercial films than did many of those other directors who I refer to, and knew, thus, how to accept criticism (though Truffaut offers much more praise than negative criticism) and play the publicity game.Nearly every page of the text is sprinkled with pictures from Hitchcock’s many films (472 photos in total), particularly to illustrate images that are discussed in the course of these interviews. In over 250 pages the Master of Suspense tells some very funny jokes, gets a childlike excitement when discussing technical aspects of his films, lays out certain “rules” for filmmaking (particularly when it comes to suspense), and theorizes on what factors led to the weaknesses in some of his pictures. As for the last point, amusingly, very rarely does he assume responsibility for a film’s flaws, but rather blames these weaknesses on casting, poor performances from his actors or on weak scripts. But I assume that many of us would try to find justifications for our deficiencies, for it’s easier than accepting full responsibility (and sometimes indeed there are what we perceive to be causal factors for our flaws). Fifty-four of Hitch’s films are discussed (29 of which I’ve seen to date), some in greater detail than others, but all at least somewhat interesting. One of Hitchcock’s favorites: Shadow of a Doubt. And Truffaut (also two of my favorites): Notorious (interestingly both Hitchcock and Ingmar Bergman comment on the female lead of that picture – Ingrid Bergman – being an exceptionally difficult actress to work with) and Rear Window. I'm also very partial to both North by Northwest and Psycho, probably at least in part because those were the first two Hitchcock films to which I was exposed.It’s a very interesting study, sure to be appreciated more by other Hitchcock admirers than anyone else. And while I like to think that everyone is (or at least should be) a Hitchcock fan I do know a few Hitchcock detractors; I just can’t see their perspective, for Hitchcock had a unique vision and approach like none before him (though like his early contemporaries he admits that he was greatly influenced by directors like D.W. Griffith and also, to a lesser degree, Fritz Lang and FW Murnau) and which has been mimicked by many after, some more effectively than others.

  • Kevin Coaker
    2018-10-13 12:20

    The definitive examination of the definitive movie career. Plus a beautiful book in its own right, with glorious photographs and stills. A wonderful birthday present that i devoured from beginning to end.Truffaut is an amazing author. He worships AH, but doesn't let that get in the way or ruin it. It's amazing to witness Ah let his guard down, and thus enable both to critically examine every film he made. A master in full flow shares with the Sorcerer's apprentice. Pleased to see the respect for Rear Window! This is the later edition that cover AH's failing health and last few years, and I found that a touching section. This book is entertaining and informative, and you realise so much of what you know about AH's art, interests, humour and dark-side comes from this.

  • Bran Gustafson
    2018-10-16 10:23

    This is a fantastic book if you're a Hitchcock fan, or if you're interested in storytelling or in the art of filmmaking. In a series of interviews by Francois Truffaut, Hitch is completely candid about his process, his intentions and what he perceives are his successes and mistakes. A word of warning, however, if you'd like to preserve in your mind some of the magic of filmmaking, as Hitch is basically revealing his tricks.

  • Stratos
    2018-09-23 17:22

    Απαραίτητο βιβλίο-εργαλείο για αυτόν που αγαπάει τον κινηματογράφο. Ολες οι ταινίες του μεγάλου σκηνοθέτη, τις σχολιάζει ο ίδιος και ο Φρανσουά Τρυφώ. Στις τελευταίες σελίδες όλη η φιλμογραφία του αλλά και σε ταξινόμηση οι αναφορές του Χίτσκοκ σε ταινίες και σε ανθρώπους του κινηματογράφου

  • Roberto Hernando
    2018-09-22 15:40

    Si te gusta el cine, tienes que leer este libro

  • Deni Ciubotaru
    2018-09-26 13:20

    I will always love him and I really hope I will get to watch all of his movies.

  • Nesreen Fd
    2018-10-07 12:44

    "كيف كان علينا أن نتعامل مع شيخوخة رجل عظيم؟"

  • Noah
    2018-09-23 12:33

    igual si digo que lo he terminado leyendo en diagonal me echan de la carrera

  • Varniit Nigam
    2018-10-11 18:24

    Hitchcock/Truffaut by François Truffaut REVIEW by Varniit NigamI sometimes go befuddled and emancipated by what François Truffaut once said,"I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between."And, with this book called "Hitchcock/Truffaut by François Truffaut", it all becomes crystal clear and absolutely important.This book actually deserves no review but there are some books that need the attention, dedication and appreciation to just let it flow into your veins and arteries like blood. Also, since this is a film guide book about conversations between big and esteemed names of the two industry, reviewing or rating it, makes it sounds like cheap and normal passerby book.This book is about how François Truffaut got Alfred Hitchcock talk about his life, works and back stories of how those films got impregnated and became evergreen for the world to see. Since it came back in 1966 and then 1983, it was released under its original french name "Le Cinéma selon Alfred Hitchcock", which makes us wonder how precisely this book was made to come out. I personally, haven't got across such a book that deals in such precarious, straightforward and heartwarming manner as this one because, to very honest, you wouldn't find one.Since, this whole book is best in grandest way possible, the chapters that are going to with you is esp., 10th chapter and the last one, which tells about the later and other parts of the life of Hitchcock.As, i am a devotee and follower of Hitchcock's works, it becomes even more prerequisite to take this book as a must read. Also, I have and seen read Truffaut's works before, which makes my experience with this book wonderful and mesmerizing. Hitchcock was not just a director who made some cult films under the genre of suspense, crime, thriller, mystery but a man who knew what he was going to make before making it so that it can be decoded as he has revealed everywhere in the book. He knew the sense of how a story, a camera and a character (an actor) should be a film/play/story/performance and then bringing them to life with the story, acts and of course, macguffin.I WOULD RECOMMEND EVERYBODY, NOT JUST TO FILM STUDENTS OR FILM RELATED PEOPLE TO BUY AND READ THIS, BUT TO EVERYONE WHO WILL KNOW SOME LIFE THAT SUCH MAVERICKS USED TO LIVE IN OUR WORLD AND HOW THEIR EFFORTS MADE US LIVE IN SUCH WORLDS, AFTER THEY ARE GONE.Also, if you are lucky enough, do find the time to read it through via audiobook or one that exists somewhere on the net for free, which is also great to listen.SOMETHING, I FOUND ON YOUTUBE FOR THIS BOOK,

  • Pau Guillén
    2018-09-25 13:33

    "Nunca un reportaje sobre un acontecimiento cualquiera en un periódico cualquiera causará tanto impacto como una película. Las catástrofes sólo les ocurren a los otros, a gente que uno no conoce. Una pantalla hace entrar en contacto inmediatamente con el asesino, con su víctima, por la que uno pasa miedo, ya que se ha convertido en alguien a ojos de esa persona. Accidentes de automóvil hay miles todos los días. Si su hermano es la víctima, entonces comienza a interesarle. Un héroe de cine debe convertirse en nuestro hermano o en nuestro enemigo si la película está conseguida". Començava el llibre amb certa por de no haver vist tota la extensa obra hitchockiana (un total de 54 pel·lícules de les quals n'havia vist fins ara unes 10-12). A mesura que vas llegint el llibre t'adones que no passa res, lo important és entendre el per què de cada pel·lícula i el moment en que es produeix. És el repàs a tota una llarga trajectoria, començant pel cine mut, cinema sonor i després l'entrada dels colors a la gran pantalla. Reflexions sobre art, especialment el llenguatge de la càmera i les imatges. L'he gaudit molt, lectura sorprenentment amena.

  • Tristram
    2018-10-18 16:15

    Hitch as Hitch CanMeine erste Bekanntschaft mit den Filmen Alfred Hitchcocks machte ich im Alter von 12 oder 13 Jahren, als ich an einem Samstagabend im Haus meiner Großeltern einem betrügerischen Medium dabei zusah, wie es einer alten Dame dabei half, ihren zur Adoption freigegebenen Neffen wieder ausfindig zu machen. Damals konnte ich natürlich mit dem Namen eines Regisseurs wenig anfangen und war deshalb auch kaum geneigt, über das Für und Wider der Auteur-Theorie nachzudenken. Ich fürchte sogar fast, daß der Name Hitchcock für mich zunächst im Zusammenhang mit den dreißerischen Fragezeichen von Bedeutung war, doch hatte dieser Film mir so gefallen, daß ich auch heute noch recht genau weiß, wo und wann ich ihn zum ersten Mal sah. Einige Jahre später dann las ich zum ersten Mal François Truffauts Interviews mit Alfred Hitchcock – über das Buch war ich in der Stadtbibliothek gestolpert – und freue mich nun, es endlich in meinem eigenen Bücherregal zu haben. Der Plauderton, in dem sich Truffaut und Hitchcock über des Meisters Filme unterhalten, ohne dabei freilich auf der Ebene substanzloser Plauderei zu verharren, macht diesen Klassiker zu einer leicht verständlichen Lektüre, die sich gut eignet, einen ersten theoretischen Zugang zu Hitchcock – sowie zum Spannungsfilm überhaupt – zu erlangen. Jeder einzelne Film Hitchcocks – die letzten seiner Werke in einem summierenden Essay Truffauts, das die Form des Dialoges aufgibt – findet Erwähnung, wobei einige – z.B. „The Lodger“, „Strangers on a Train“, „Psycho“ oder „The Birds“ – mehr im Vordergrund stehen als andere, die eher kursorisch abgehandelt werden. Was ich ziemlich ungewöhnlich für einen Regisseur, der über sein Werk spricht, finde, ist, daß Hitchcock einen großen Teil seiner Aufmerksamkeit der technischen Seite seiner Filmsprache widmet und sich nicht nur in einer ästhetischen Einschätzung seiner Filme erschöpft. Dies war für eine Zeit, in der man nicht mal eben per Computeranimation Tausende von Orks auf die Leinwand zaubern konnte, mit großen Herausforderungen und genialer Alltagstüftelei verbunden. So ging es nicht nur darum, Größenunterschiede zwischen einem kleineren Protagonisten und seinem weiblichen Gegenstück zu kaschieren, sondern man mußte auch Mittel und Wege finden, Kulissen geräuschlos zu verschieben, um die von Hitch gewünschte Kamerafahrt realisieren zu können. In „Strangers on a Train“ gar ging Hitchcocks Perfektionismus so weit, daß der Schauspieler, der unter das in voller Fahrt befindliche Karussell kroch, wirklich in Lebensgefahr geriet. Truffauts Interviewpartner berichtet denn auch mit merklichem Stolz von Tricks wie dem, in dem ein nachgemachtes Cockpit für „Foreign Correspondent“ sich auf eine Leinwand zubewegte, auf der per Rückprojektion ein Ozean zu sehen war. Hinter der Leinwand befand sich ein Wassertank, und durch einen Knopfdruck wurde der Tank zum Bersten gebracht, so daß das Wasser direkt ins Cockpit schwappte, als es die scheinbare Wasseroberfläche durchschlug. Dies ermöglichte es Hitchcock, das Flugzeug aus Sicht des Piloten ohne Schnitt ins Wasser eintauchen zu lassen. Noch ein anderes: Hitchcock berichtet im Zusammenhang mit „Vertigo“ auch, daß die berühmte Kamerafahrt in der Turmszene aus Kostengründen in einem horizontal gelagerten Modell stattfand.Neben diesen technischen Aspekten spricht Hitchcock aber auch über für ihn typische Konzepte wie das des Suspense, das er vom Überraschungseffekt abgrenzte, oder über die liebe Not, die er bisweilen hatte, geeignete Besetzungen für seine Rollen zu finden. In diesem Zusammenhang wird übrigens auch deutlich, wie sein uncharmanter Satz, Schauspieler seien Vieh, wirklich gemeint war.Truffaut als Interviewpartner auf Augenhöhe versteht es, dem Altmeister geschickte Fragen zu stellen, wobei er auch eigene Gedanken zu den Filmen einflicht und mit zunehmender Dauer des Interviews an Selbstbewußtsein gewinnt. Am kritischsten ist freilich das abschließende Essay, das mehrere Jahre nach Abschluß des Gesprächs entstand und auch Truffauts Rolle als Interviewer mit den ihr eigenen Begrenzungen kurz anspricht.Die Heyne-Ausgabe enthält weniger Photos als die deutsche Erstveröffentlichung (die wiederum weniger luxuriös ausgestattet war als das französische Original), doch gibt es einen abschließenden Aufsatz von Robert Fischer, in dem die von mannigfaltigen Schwierigkeiten begleitete Entstehungsgeschichte des Buches nachgezeichnet wird.Truffauts Hitchcock-Buch ist beileibe keine systematische Analyse des Filmschaffens Alfred Hitchcocks, und so wird der interessierte Leser denn auch nicht unbedingt zu jedem Film gleich ausführlich informiert. Doch wer Fachsimpelei auf hohem Niveau zu schätzen weiß, die dann und wann durch eine komische Anekdote vom Meister des Understatements unterbrochen wird, der sollte dieses Buch unbedingt in seine Kinobibliothek aufnehmen.

  • Vale76
    2018-10-05 16:39

    La bibbia del cinema misteryHo iniziato a leggere questo libro in aprile, e l'ho terminato in ottobre, con la conseguenza che questi due meravigliosi personaggi, Hitchcock e Truffaut, mi hanno tenuto compagnia per diverso tempo.Del grande cineasta francese conoscevo a grandi linee quel poco che più o meno sanno tutti; mentre riguardo a Hitch, personaggio strepitoso che ammiro da sempre, il discorso è ben diverso. Ho una passione sterminata per il Maestro del Brivido da tantissimi anni, e ho visto quasi tutti i suoi film. La sua vita e la sua opera mi hanno sempre affascinata, e molte cose della sua straordinaria carriera le conoscevo già (prima di questo, avevo già letto Hitchcock: L'incredibile storia di Psycho, e vari articoli in giro per il Web), ad esclusione di tantissimi altri aneddoti e dettagli, qui rivelati da un eccellente Truffaut, in chiara vena giornalistica.Il libro è la storica maxi-intervista del super cineasta francese, iniziata nel 1962 e successivamente aggiornata e ampliata, e ripercorre, integralmente, tutta la carriera del Maestro.Non è una semplice intervista, direi, né uno schematico rendiconto tecnico sulla realizzazione di ogni film; è sopratutto un racconto umano, di un grande regista (termine decisamente riduttivo nel caso di Hitch) inglese e icona di Hollywood, che narra, di fatto, la sua vita (ciò che, in effetti, il Cinema rappresentava per lui) a un altro grande regista del cine francese.Il risultato è un confronto fra due "mostri".Sotto la lente indagatoria di Truffaut c'è Hitchcock, naturalmente, ma non è tutto suo il merito della buona riuscita di questo libro straordinario. Il merito è anche di Truffaut e delle sue domande: acute, pertinenti, e mai banali.