Alfred Hitchcock and the Making of Psycho by Stephen Rebello

By Stephen Rebello

Here's a gripping, behind-the-scenes glance contained in the vintage suspense shocker Psycho and the inventive genius who revolutionized filmmaking.

First published in June 1960, Psycho altered the panorama of horror movies eternally. yet simply as compelling because the motion picture itself is the tale in the back of it.

Stephen Rebello brings to lifestyles the production of 1 of Hollywood's so much iconic movies, from the tale of Wisconsin assassin Ed Gein, the real-life thought for the nature of Norman Bates, to Hitchcock's groundbreaking achievements in cinematography, sound, enhancing, and promoting. jam-packed with fascinating insights from the film's stars, writers, and workforce members,Hitchcock is a riveting and definitive background of a signature Hitchcock cinematic masterpiece.

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Der Unternehmer verkörpert eine jener Figuren, welche über Macht und Geld herrschen, die aber, berstend vor Neid, zusehen müssen, dass sie das, was sie am meisten begehren, nicht bekommen können, weil es nicht zu kaufen ist. Antoine (Grégori Derangère) Antoine ist Veteran des Algerienkriegs. Seine Position ist ein Jahr nach der Unabhängigkeit Algeriens nicht ganz geklärt. Er ist weder Sieger noch Verlierer, weil es bis vor Kurzem in der offiziellen Diktion keinen Algerienkrieg gegeben hat. Antoine war als Wehrdienstpflichtiger gezwungen, seinen Militärdienst in Algerien zu leisten und hat sich dort die Verstümmelung seiner linken Hand zugezogen.

Brigitte (Émilie Dequenne) Brigitte ist die junge, hübsche Tochter des Dorfwirts. Sie ist sexy, munter und trägt die 1960er-Mode der jungen Frauen vom Festland. Sie ist zwar mit Théo verlobt, einem »Idioten«, wie Yvon sagt, aber das hindert sie nicht, sich von Antoine begeistern zu lassen und heftig mit ihm zu flirten. Sie zeigt ihre Freude über den neuen Dorfbewohner offen, so dass auch den männlichen Kneipenbesuchern deutlich wird, was in ihr vorgeht. Beim Fest, an dem Mabé wie angenagelt auf ihrem Platz bei den Frauen verharrt, wird Brigitte aktiv und schnappt sich den Mann Antoine, mit dem sie tanzen möchte.

Er organisiert Barbaras Observation durch André und überwacht sie auch selbst. So entsteht eine »Ménage-à-trois« zwischen Barbara, André und dem totalitären Staat als missbräuchlichem Dritten im Bunde. In Filmen, die politische Diktaturen und Gewaltregime kritisieren, ist es in der Regel ein dyadisches Liebespaar, das sich mit seiner Liebe und um der Liebe willen gemeinsam zur Wehr setzt und damit das System unterläuft, vielleicht sogar untergräbt. Das Eindringen des Staates in das Liebesleben seiner Bürgerinnen und Bürger gerät bei Petzold zum charakteristischen Merkmal der DDR-Diktatur: 1 Gegenstand dieser Reflexionen ist das politische System der DDR, wie es im Spielfilm Barbara inszeniert wird.

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