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Hitchcock's Films Revisited, by Robin Wood
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When Hitchcock's Films was first published, it quickly became known as a new kind of book on film and as a necessary text in the growing body of Hitchcock criticism. This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a critic―including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life and have remained deeply intertwined through the years. This revised edition also includes a new chapter on Marnie.
- Sales Rank: #620008 in Books
- Brand: Brand: Columbia University Press
- Published on: 2002-05-15
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x 1.06" w x 6.34" l, 1.60 pounds
- Binding: Paperback
- 448 pages
- Used Book in Good Condition
Amazon.com Review
This is really two books in one. It contains the entire text of Robin Wood's groundbreaking Hitchcock's Films and supplements it with articles and commentaries on Hitchcock that Wood wrote from the time of that book's publication until today. Tracing the trajectory of Hitchcock's career, Hitchcock's Films Revisited also allows us to follow the intellectual and emotional development of one of the cinema's major critics. Wood's close readings are always revelatory and exciting, and this volume contains probably the best single essay ever written on a Hitchcock movie, Wood's analysis of Vertigo.
From Library Journal
In 1965, Wood, now professor of film studies at York University, authored the well-regarded Hitchcock's Films . Since then he has become an avowed Marxist and feminist, and had modified his auteurist views. From these perspectives, the work has been reprinted, extensively footnoted and "corrected" by bracketed insertions, and combined with several new essays which essentially comprise another complete book. Where the first book focuses on the director's mature works, the second one critiques somewhat less-appreciated films and provides an overall thematic context. In an illuminating new introduction, Wood extensively analyzes his and other film writers' approaches to the Hitchcock canon. Highly recommended for informed laypersons and scholars.
- Roy Liebman, California State Univ. Lib., Los Angeles
Copyright 1989 Reed Business Information, Inc.
Review
It is impossible not to be impressed by the richness, justice, and eloquence of [Wood's] readings like Rope, Notorious, Under Capricorn. and The Man Who Knew Too Much. . . . If there are still any doubters about Hitchcock's central place in the canon of 20th century artists, they should address themselves to this wonderful study, where they will find the case for the defense magisterially outlined and argued with sustained, fiery conviction. -- London Times Saturday Review
It is impossible not to be impressed by the richness, justice, and eloquence of [Woods] readings like Rope, Notorious, Under Capricorn. and The Man Who Knew Too Much. . . . If there are still any doubters about Hitchcock's central place in the canon of 20th century artists, they should address themselves to this wonderful study, where they will find the case for the defense magisterially outlined and argued with sustained, fiery conviction. -- London Times Saturday Review
Most helpful customer reviews
32 of 32 people found the following review helpful.
As brilliant as it is controversial
By Alexander Jacoby
Most of the comments posted about this book are embarrassing in their refusal to engage properly with what Robin Wood is actually trying to argue. Previous readers appear to resent Wood's desire to take the cinema seriously, and suggest that we should look to Hitchcock's films for no more than "craft" and "technique". If that's all one is concerned with, I'm not sure why it would be worth reading a book on Hitchcock at all. Wood has always been firm in asserting that the experience of watching a film is both emotional and intellectual. Taking the cinema seriously doesn't mean one has to stop responding to it emotionally. Nor does Hitchcock's status as a consummate entertainer invalidate Wood's arguments that his films raise profound and troubling moral and political questions.
Wood writes beautifully. Complaints about his reliance on Freudian or Marxist terminology are wrongheaded - such terminology is in fact employed far more rarely than by most academic writers. Wood's use of language is magnificently precise and careful. It is true that he conducts his critique of Hitchcock, as of other filmmakers, from a leftwing viewpoint. One does not have to share his commitment to Marxism (a kind of reconstructed, humanistic Marxism, incidentally, which has nothing to do with the atrocities perpetrated by Mao or Stalin) in order to appreciate the strength of his analysis. Anyone who is prepared, as a reader, to engage in lively debate with a writer's ideological and moral assumptions, should be able to profit by reading Wood's book.
I certainly don't agree with everything Wood has to say either on a political or an aesthetic level. But no other writer on Hitchcock, or on the cinema, has the same depth, reach or passion for his subject. Hitchcock's Films Revisited, presenting in tandem Wood's earlier and later thoughts on one of the cinema's great masters, is not only great criticism; it is also a moving account of one man's personal and political evolution.
18 of 18 people found the following review helpful.
The Price of Innovation
By John P Bernat
Forty years ago Robin Wood joined a then-small number of serious critics who urged that Hitchcock be taken seriously. Since many of those critics did not receive a wide reading, Wood's effort was of extreme significance in garnering Hitch the respect he deserved.
It's wonderful to note that Wood, still writing, has continued to update his first work without repudiating or diluting any of it. He made some highly daring observations in 1966, which so many writers ridiculed or dismissed. His originality and critical integrity is so notable, though, that it has weathered these attacks and survived to the present, in actually even better form.
Consider, for example, that Wood countered a then-contemporary tend in dismissing "Marnie" as a failure. Instead, in his first book and most recent edition, he insists that "Marnie" be counted in among films like Psycho, The Birds, Vertigo and North by Northwest as a masterly pairing of visual images addressing psychological elements. And who else before Wood saw the utterly original qualities of "Vertigo," or deconstructed them more effectively?
You won't be sorry to have this book in your library. It originated a critical lanugage of film, and celebrated one of film's greatest contributors in a unique way.
5 of 26 people found the following review helpful.
Predigested Platitudes
By Thomas Parker
Occasional insights obscured by thickets of doctrinaire Freudianism. Let the reader beware!
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