Overview

Full Product Details

9781498529174

Table of Contents

Reviews

One rarely finds a more exciting book on Hitchcock, or indeed on any movie director, than this one by Padilla (classical studies, Christopher Newport Univ.)... [T]he observations are detailed and perceptive. The classical themes Padilla finds are mostly from Homer and Virgil. The Farmer's Wife (1928) brings in Hestia and the judgment of Paris (and includes telling symbols: fireplace, pants, sheep, cupid); The Man Who Knew Too Much, the Eleusinian mysteries (symbols: bull, teeth, hair, seasons, eating, storms, labyrinths, metal); Rebecca, Cupid and Psyche (symbols: the sea, windows, Valhalla, pig, picnic baskets); Strangers on a Train, Hermes, Venus, Pan, and Hercules (symbols: architecture, chains, sores, Mt. Olympus, eyeglasses, shoes, lobsters, cow, calf, watches, satyrs, statues, goats, Cerberus). Provocative and demanding, the book is invaluable, and it includes hundreds of footnotes and bibliographical references. Summing Up: Highly recommended. Upper-division undergraduates through faculty. * CHOICE * Mark Padilla's study on the role of classical myth in the movies of Alfred Hitchcock is an intriguing piece of scholarly work. Strongly embedded within the ever-expanding scholarship on the reception of classical antiquity in cinema, his book sets out to explore how mythological stories, symbols, motifs and archetypal themes influenced narrative structures and character developments in Hitchcock's films over a time span of ca. 25 years (1928-1951).... Through a careful selection of texts, sculptures, paintings and archaeological objects, Padilla meticulously deconstructs each of these films, and analyses how classical sources repeatedly shaped story patterns and character actions. Padilla hereby never tries to fit his reasoning into one fundamental source myth, opting instead for a more complex-and therefore more rewarding-interpretation.... In the end, Padilla has produced an exceptionally learned and informative study. He ultimately succeeds in illuminating Hitchcock's eclectic and arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture. * The Classical Journal * [Padilla's] work expands the terrain of classical reception studies because his analysis of Hitchcock and myth opens up the director's unacknowledged development in a classics-rich background as a new area of investigation. This book needs to be read by anyone interested in myth and film, Hitchcock, or reception studies. * Bryn Mawr Classical Review * The several prodigious feats of classicist Mark Padilla in this book more than emulate those of Mr Memory in Alfred Hitchcock's The 39 Steps (1935). Professor Padilla's accomplishment is to have placed six Hitchcock films and their characters in something like a fundamental position in the history of art and narrative. His lens is that of Greek myth and culture, and it works splendidly. The character Richard Hannay (Robert Donat) in The 39 Steps is both high and low , and we are told exactly why. Lisa Fremont (Grace Kelly) in Rear Window (1954) is successively self-centered and heroic , and Padilla illustrates this by analogues drawn from two separate versions of the Aphrodite/Venus story. Exemplary stuff. Whole courses on the Western-art heritage could be based on Padilla's book. -- Ken Mogg, Author of <i>The Alfred Hitchcock Story</i> Aimed at a wide audience, which includes lovers of the seventh art in general but also the students of the current reception of classical authors, Classical Myth in Four Films of Alfred Hitchcock is the result of long years dedicated to the investigation of the filmography of this director, including visits to the sets of filming and to the main archives and libraries in which his legacy is conserved. * FILMHISTORIA Online * In this welcome follow-up to his Classical Myth in Four Films of Alfred Hitchcock, Padilla continues to demonstrate the profound influence of classical myths and imagery on many of the Master of Suspense's most important works. Classicists and scholars of film and classical receptions alike will appreciate Padilla's thorough research, keen insights, and perceptive analysis, which are made accessible to lay audiences - both Hitchcock fans and armchair mythologists - through clear organization, direct prose, and full exposition of the works he discusses. By highlighting the imprint of classical myths, images, and patterns on the seemingly unrelated works of one of the most influential auteur-directors in the history of cinema, Padilla here makes an important contribution to the growing field of Reception Studies. -- Kirsten Day, Augustana College

One rarely finds a more exciting book on Hitchcock, or indeed on any movie director, than this one by Padilla (classical studies, Christopher Newport Univ.)... [T]he observations are detailed and perceptive. The classical themes Padilla finds are mostly from Homer and Virgil. The Farmer's Wife (1928) brings in Hestia and the judgment of Paris (and includes telling symbols: fireplace, pants, sheep, cupid); The Man Who Knew Too Much, the Eleusinian mysteries (symbols: bull, teeth, hair, seasons, eating, storms, labyrinths, metal); Rebecca, Cupid and Psyche (symbols: the sea, windows, Valhalla, pig, picnic baskets); Strangers on a Train, Hermes, Venus, Pan, and Hercules (symbols: architecture, chains, sores, Mt. Olympus, eyeglasses, shoes, lobsters, cow, calf, watches, satyrs, statues, goats, Cerberus). Provocative and demanding, the book is invaluable, and it includes hundreds of footnotes and bibliographical references. Summing Up: Highly recommended. Upper-division undergraduates through faculty. * CHOICE * Mark Padilla's study on the role of classical myth in the movies of Alfred Hitchcock is an intriguing piece of scholarly work. Strongly embedded within the ever-expanding scholarship on the reception of classical antiquity in cinema, his book sets out to explore how mythological stories, symbols, motifs and archetypal themes influenced narrative structures and character developments in Hitchcock's films over a time span of ca. 25 years (1928-1951).... Through a careful selection of texts, sculptures, paintings and archaeological objects, Padilla meticulously deconstructs each of these films, and analyses how classical sources repeatedly shaped story patterns and character actions. Padilla hereby never tries to fit his reasoning into one fundamental source myth, opting instead for a more complex-and therefore more rewarding-interpretation.... In the end, Padilla has produced an exceptionally learned and informative study. He ultimately succeeds in illuminating Hitchcock's eclectic and arbitrary use of classical myth in his filmmaking process, while at the same time revealing a much neglected yet crucial aspect of the director's multi-layered film language. In doing so, he makes a strong case for the universality of mythical stories, as well as their everlasting narrative power in popular culture. * The Classical Journal * [Padilla's] work expands the terrain of classical reception studies because his analysis of Hitchcock and myth opens up the director's unacknowledged development in a classics-rich background as a new area of investigation. This book needs to be read by anyone interested in myth and film, Hitchcock, or reception studies. * Bryn Mawr Classical Review * The several prodigious feats of classicist Mark Padilla in this book more than emulate those of Mr Memory in Alfred Hitchcock's The 39 Steps (1935). Professor Padilla's accomplishment is to have placed six Hitchcock films and their characters in something like a fundamental position in the history of art and narrative. His lens is that of Greek myth and culture, and it works splendidly. The character Richard Hannay (Robert Donat) in The 39 Steps is both high and low , and we are told exactly why. Lisa Fremont (Grace Kelly) in Rear Window (1954) is successively self-centered and heroic , and Padilla illustrates this by analogues drawn from two separate versions of the Aphrodite/Venus story. Exemplary stuff. Whole courses on the Western-art heritage could be based on Padilla's book. -- Ken Mogg, Author of <i>The Alfred Hitchcock Story</i> In this welcome follow-up to his Classical Myth in Four Films of Alfred Hitchcock, Padilla continues to demonstrate the profound influence of classical myths and imagery on many of the Master of Suspense's most important works. Classicists and scholars of film and classical receptions alike will appreciate Padilla's thorough research, keen insights, and perceptive analysis, which are made accessible to lay audiences - both Hitchcock fans and armchair mythologists - through clear organization, direct prose, and full exposition of the works he discusses. By highlighting the imprint of classical myths, images, and patterns on the seemingly unrelated works of one of the most influential auteur-directors in the history of cinema, Padilla here makes an important contribution to the growing field of Reception Studies. -- Kirsten Day, Augustana College

Author Information

Mark W. Padilla is distinguished professor of classical studies at Christopher Newport University

Tab Content 6

Customer Reviews

Recent Reviews

Countries Available