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
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