Sixty seconds of Hitchcock: vertigo

Authors

  • David Gomiero Molina Universidade de Chicago

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2022.188751

Keywords:

Alfred Hitchcock, Bernard Herrmann, Gérard Genette, Vertigo, Cinema and paratext

Abstract

Inspired by Gérard Genette’s Paratexts: Thresholds of Interpretation, this article closely analyzes the opening credits of Alfred Hitchcock’s Vertigo (1958) focusing particularly on its re-signification of the production credits and its introduction of gestural, musical, and thematic elements developed later in the film. The opening credits, then, serve as a starting point for an interpretation of the whole of the work

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Author Biography

  • David Gomiero Molina, Universidade de Chicago

    Doutor pelo Committee on Social Thought e pelo departamento de Literatura Comparada da Universidade de Chicago (EUA).

References

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FRIEDLANDER, E. “Being-in-(Techni)color”. In: MAKKAI, K. Vertigo. New York: Routledge, 2013. p. 174-193.

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SCHNELLER, T. “Death and love: Bernard Herrmann’s score for Vertigo”. Cuadernos de Música, Artes Visuales y Artes Escénicas, Bogotá, v. 1, n. 2, p. 189-200, 2005.

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Published

2022-09-02

Issue

Vol. 49 No. 58 (2022)

Section

Articles

License

Copyright (c) 2022 David Gomiero Molina

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How to Cite

Sixty seconds of Hitchcock: vertigo. (2022). Significação: Journal of Audiovisual Culture, 49(58), 188751. https://doi.org/10.11606/issn.2316-7114.sig.2022.188751