Art of Pure Cinema

In a now-famous interview with Fran�ois Truffaut in 1962 Alfred Hitchcock described his masterpiece <em>Rear Window</em> (1954) as the purest expression of a cinematic idea. But what precisely did Hitchcock mean by pure cinema? Was pure cinema a function of <em>mise en sc�ne</em> or composition within the frame? Was it a function of montage of pieces of film assembled? This notion of pure cinema has intrigued and perplexed critics theorists and filmmakers alike in the decades following this discussion. And even across his 40-year career Hitchcock's own ideas about pure cinema remained mired in a lack of detail clarity and analytical precision. <p/><em>The Art of Pure Cinema</em> is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - <em>Rear Window</em> <em>Vertigo</em> <em>North by Northwest</em> <em>Psycho</em> <em>The Birds</em> <em>Marnie</em> and <em>Frenzy</em> - Isaacs rereads these works in a new and vital context. In addition to this historical account the book presents the first examination of pure cinema as an integrated stylistics of <em>mise en sc�ne</em> montage and sound design. The films of so-called Hitchcockian imitators like Mario Bava Dario Argento and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock.<br>