Details
- article: Hitchcock, the holocaust, and the long take: memory of the camps
- author(s): Steven Jacobs
- journal: Arcadia (01/Feb/2011)
- issue: volume 45, issue 2, page 265
- journal ISSN: 0003-7982
- publisher: Walter de Gruyter GmbH & Co. KG
- keywords: "Alfred Hitchcock: A Life in Darkness and Light" - by Patrick McGilligan, "Hitchcock and Selznick" - by Leonard J. Leff, "Hitchcock on Hitchcock" - edited by Sidney Gottlieb, "Sidney Bernstein: A Biography" - by Caroline Moorehead, "The Wrong House" - by Steven Jacobs, Alfred Hitchcock, André Bazin, Aventure Malgache (1944), Bon Voyage (1944), Chicago, Illinois, Filmmakers, Foreign Correspondent (1940), John Grierson, Leonard J. Leff, Lifeboat (1944), Memory of the Camps (1985), Ministry of Information, North by Northwest (1959), Notorious (1946), Patrick McGilligan, Psycho (1960), Raymond Bellour, Rear Window (1954), Rebecca (1940), Rope (1948), Sabotage (1936), Saboteur (1942), Shadow of a Doubt (1943), Sidney Bernstein, Sidney Gottlieb, Sight and Sound (1984) - The Fate of F3080, Spellbound (1945), Steven Jacobs, Strangers on a Train (1951), The Paradine Case (1947), Torn Curtain (1966), Under Capricorn (1949), Vertigo (1958), William Rothman
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Abstract
In 1945, Alfred Hitchcock got involved in the production of a documentary film, which later would be called Memory of the Camps. Although Hitchcock’s involvement in the project was rather minimal, his contribution interfered in an interesting way with some of the aesthetic preoccupations that particularly characterized his feature films of the 1940s. How are some of these interests, such as the fascination for morbid details, the use of fetish objects and a preference for long takes, connected to the issues of memory, trauma, and (historical) truth ?