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This book offers a new approach to film studies by showing how our brains use our interpretations of various other films in order to understand Alfred Hitchcock’s Vertigo. Borrowing from behavioral psychology, cognitive science and philosophy, author Robert J. Belton seeks to explain differences of critical opinion as inevitable.
The book begins by introducing the hermeneutic spiral, a cognitive processing model that categorizes responses to Vertigo’s meaning, ranging from wide consensus to wild speculations of critical “outliers.” Belton then provides an overview of the film, arguing that different interpreters literally see and attend to different things. The fourth chapter builds on this conclusion, arguing that because people see different things, one can force the production of new meanings by deliberately drawing attention to unusual comparisons. The latter chapters outline a number of such comparisons―including avant-garde films and the works of Stanley Kubrick and David Lynch―to shed new light on the meanings of Vertigo.
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About the Author:
Robert J. Belton has taught film studies, popular music, and art history and theory at The University of British Columbia, McMaster, Western and Queen’s Universities. He is author of Sights of Resistance: Approaches to Canadian Visual Culture and other books.
"About this title" may belong to another edition of this title.
- PublisherPalgrave Macmillan
- Publication date2017
- ISBN 10 3319551876
- ISBN 13 9783319551876
- BindingHardcover
- Edition number1
- Number of pages166
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Book Description Buch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book offers a new approach to film studies by showing how our brains use our interpretations of various other films in order to understand Alfred Hitchcock'sVertigo. Borrowing from behavioral psychology, cognitive science and philosophy, author Robert J. Belton seeks to explain differences of critical opinion as inevitable. The book begins by introducing the hermeneutic spiral, a cognitive processing model that categorizes responses to Vertigo's meaning, ranging from wide consensus to wild speculations of critical 'outliers.' Belton then provides an overview of the film, arguing that different interpreters literally see and attend to different things. The fourth chapter builds on this conclusion, arguing that because people see different things, one can force the production of new meanings by deliberately drawing attention to unusual comparisons. The latter chapters outline a number of such comparisons-including avant-garde films and the works of Stanley Kubrick and David Lynch-to shed new light on the meanings ofVertigo. Seller Inventory # 9783319551876
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