Who can omit Dorothy's quest for the good and strong ounces as she attempted to come back to her liked Kansas? She proposal she wanted a wizard's magic, basically to find that domestic -- and the ability to get there -- have been along with her all alongside. This attractive and provocative ebook proposes that Hollywood has created an imaginary cinematic geography jam-packed with humans and areas we realize and to which we're irresistibly drawn. every one viewing of a movie stirs, in a truly genuine and charismatic approach, emotions of domestic, and the relief of returning to movies like known haunts is on the center of our nostalgic hope. top us on a trip via American movie, Elisabeth Bronfen examines the several methods house is built within the improvement of cinematic narrative. each one bankruptcy incorporates a shut studying of such vintage motion pictures as Fleming's The Wizard of Oz, Sirk's Imitation of Life, Burton's Batman Returns, Hitchcock's Rebecca, Ford's The Searchers, and Sayles's Lone Star.
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Additional resources for Home in Hollywood: The Imaginary Geography of Cinema
Although Hitchcock insisted in a statement to Newsweek, once the production of Rebecca was over, that “his ﬁrst ﬁlm would reﬂect no personality other than his own,” Leonard J. 6 The ﬁlm itself, in turn, plays through this confrontation with the big Other as a battle between “I” and the ﬁrst Mrs. de Winter, whose stringent authority is maintained through her devoted servant Mrs. Danvers. Hitchcock, of course, never admitted to an identiﬁcation between himself and his ﬁlmic “I,” although he does confess in his conversations with Truffaut that he insisted on casting Joan Fontaine in his ﬁrst American ﬁlms because she, like him, was a stranger in Hollywood.
Hitchcock, of course, never admitted to an identiﬁcation between himself and his ﬁlmic “I,” although he does confess in his conversations with Truffaut that he insisted on casting Joan Fontaine in his ﬁrst American ﬁlms because she, like him, was a stranger in Hollywood. Manderley: A Phantasmatic Site Chronologically, Hitchcock’s Rebecca begins in Monte Carlo, where “I,” whose mother has been dead for years and whose father died recently, works as a paid companion for the vulgar American millionaire Mrs.
Van Hopper mentions Maxim de Winter and his estate three times, and in each case she refers to its deceased first mistress. The first instance occurs after “I’s” employer unexpectedly meets Maxim in the lobby of the hotel in Monte Carlo. Seeking an explanation as to why he left them so abruptly, Mrs. Van Hopper assures her bewildered companion that he is a bereaved man, unable to overcome the death of the woman he adored. Later, after Mrs. Van Hopper has fallen ill, leaving “I” free to go on clandestine outings with Maxim, Hitchcock has his heroine enter her employer’s bedroom unnoticed, thereby becoming privy to a conversation in which Mrs.