Alfred Hitchcock and The Art of Pure Cinema  | ART REGARD | Cinema Cartography

Alfred Hitchcock and The Art of Pure Cinema | ART REGARD | Cinema Cartography


There is beauty and intention in the process
of filmmaking. Cinema invites you to reflect your own impulsions
and anxieties, considering which role you want to play when you juxtapose your psychological
interpretations to the filmmarker’s intention. Perception walks side by side with film, it
is through cinema’s gaze of the world that we disrupts our own state of consciousness. Cinema touches our deepest desires, but is
also unsettling because it plays with our darkest fears. Hitchcock once said, “The only way to get
rid of my fears is to make films about them” for there is a fetishism in film’s gaze of
our inner monsters, the cinematic death might transgress death itself. The fascination of film lies in the frightening
notion that cinema is constantly transforming us, for film is aware of its spectator’s gaze
as much as we are aware of the camera and its impossibilities. And it’s by observing Hitchcock’s quest for
”the art of pure cinema” that we can understand that art is constantly asserting something
about our humanity. But to talk about Hitchcock is also to talk
about cinema in its purest form. Hitchcock mastered every single aspect of
filmmaking: screenplay, cutting, photography, sound. It was Hitchcock that first understood cinema’s
obsession with gaze, the fetish and the desire that the camera imposes in us spectators. The intrinsic eroticism provoked by death
on screen. Cinema’s potencial to transform and resignify,
frame by frame, our vision of the world around us. To watch a Hitchcock movie is to experience
a provoking encounter with the craft of cinema, or perhaps, to rethink the idea of l’art pour
l’art. It was Hitchcock’s deep pleasure in dominating
the moving image, his obsessive dedication to make artifice conquer nature and each meticulous
shot decision that revealed a vast aesthetic sensibility that marked forever Film History. Hitchcock’s films evoke the underlying forces
that form our imagination. A truly asthete in his work, his choices unveil
their own psychological significances, in a dialogue with the spectator that speaks
below the threshold of our consciousness. And although sometimes almost mathematical,
his movies resonate as nightmares of the author to his audience. Hitchcock himself perceived films as projections,
dreams, constantly evoking childhood fears and common repressed dreads as motifs in his
filmography: voyeurism, the fear of heights, murder, betrayal, guilt, or even the unsettling
notion that chaos lies just underneath the surface of the everyday life. Perhaps, Hitchcock’s powerfull approach on
fear lies on the understanding that the evil doesn’t lurk behind a door, but it is constantly
there, around us, watching. Fears are products of our psyche, they are
outcomes of our unconscious aprehencion of reality, our response for what goes beyond
human understanding. Suspense in Hitchcock’s filmography is powerfull
because it is structural, it is character based and, therefore, blurs the line between
our reality and the diegetic space, metamorphosing what was once obscure and uncanny, into something
enthraling. Suspense is the pivotal logic of Hitchcock’s
films, the nature of the camera declares something about the “art of pure cinema”. It is his conscious use of film artifices
and techniques that define what it is, in fact, Hitchcokian. His almost perverse camera choices that build
up the tension by emphasizing details, bringing the audience closer, breaking the action into
puzzle pieces, revealing the hidden psychological meanings behind what is perceived. It is the dialogue between what the character
sees and what, us, the specators, grasp. It is the close ups that modifies our perception
by reclaiming the impact of proximity into storytelling, creating a tactile image-narrative
in a dialogue between film and viewer. Nothing in a Hitchcock film seems arbitrary
or innocent. As spectators we often stare at the diegetic
space through the eyes of individual characters, but Hitchcock’s use of point-of-view reveals
much more than just a voyeuristic gaze. We are invited to look through Hitchcock’s
eyes, entering the shell of his personality and discovering the rooted perversion that
may be also in our own nature, inerent to the human condition. And as the camera observes the subject, we
learn to see through the eyes of the Other: the character, the camera, Hitchcock. But if the use of camera reveals something
about our psyche, it is Hitchcock’s approach on montage that disrupt even more the spectators
place, transforming our perception into an active agent in the process of unveiling the
storytelling. It is through montage that the elements become
more schematical, almost mathematical. If the shots and scenes are words, the montage
assemble phrases and, by doing so, perform a dual role: they obstruct and clear, they
reveal and hide both the transcendetal value of the cinematic image and the structure of
the narrative. Hitchcock’s ambuiguity in approching montage
comes from a deep desire to control the gaze and also from a deeper understanding of the
impact of the cinematic language and its grammar. For there’s something fascinating about
the almost antagonical way we perceive film and reality. We are trapped by our perception, we can’t
experience and comprehend entirely everything that surround us, but with the cinematic reality
created by film, and specially Hitchcock’s films, the curtains are raised and we are
invited to look in. Hithcock’s use of slow dissolves as transitions
disclose something that was once hidden from the characters, but at the same time, bring
the audience to a clearer understanding of the frightful mystery that is the act of seeing
and perceiving. Hitchcock’s dark vision transcend the art
of cinema. It transfigures the camera into an instrument
of taxidermy, a murder weapon that dissect its subject, but by doing that, also reflects
about its medium: film itself and, furthemore, vision. Hitchcock conjures up our nightmares only
to offer the possibility of transcendence through Art. Alfred Hitchcock’s filmography calls for you
to open your eyes, and in a sadistic way, invites you to look into the nightmare of
our existance. My name is Luiza,
Thanks for watching

16 thoughts on “Alfred Hitchcock and The Art of Pure Cinema | ART REGARD | Cinema Cartography

  1. This is the best video you've made yet.
    But what's even more exciting is that I know that the future projects are going to be even better.

  2. Quite a handful of well construde film aesthetics. Looking forward to your upcoming work. Hope you get better a mic though πŸ˜€

  3. What programs do you use for editing and/or which ones do you recommend for some1 who wants to start editing?

  4. Some creators don't understand how important it is to just take their time when they're narrating, thank you for taking your time & not rushing your words. It not only engages me as a viewer, it really puts me in the atmosphere you're trying to place me in.

  5. I will highly recommend as a viewer your accent is very different and using big words in ur narration is a put off and I can't understand most of it cause ur diction and pronunciation is not up to par… plz use simple words

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