Espacio Tiempo y Forma. Serie VI, Geografía (2015) - Las ciudades en el cine de Alfred Hitchcock: una aproximación a los estudios fílmicos desde el ambito de la geografía
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- article: Las ciudades en el cine de Alfred Hitchcock: una aproximación a los estudios fílmicos desde el ambito de la geografía
- author(s): Aurelio Nieto Codina
- language: Spanish
- journal: Espacio Tiempo y Forma. Serie VI, Geografía (08/Jan/2015)
- issue: issue 4-5, pages 123-139
- DOI: 10.5944/etfvi.4-5.2011.13726
- journal ISSN: 1130-2968
- keywords: Albert Whitlock, Alfred Hitchcock, Anne Baxter, Blackmail (1929), British Museum, London, Cahiers du Cinéma, Cary Grant, Chicago, Illinois, Covent Garden, London, Dial M for Murder (1954), Family Plot (1976), Frank Lloyd, François Truffaut, Frenzy (1972), Grand Central Terminal, New York City, New York, Hitchcock and Art: Fatal Coincidences (2000) by Guy Cogeval & Dominique Paini, I Confess (1953), Ingrid Bergman, London, England, Marlene Dietrich, Mission Dolores Church and Cemetery, San Francisco, California, Montgomery Clift, New York City, New York, North by Northwest (1959), Notorious (1946), Old Westbury Gardens, Old Westbury, New York City, New York, Palace of Westminster, London, Paramount Pictures, Psycho (1960), Rear Window (1954), River Thames, London, Rope (1948), Royal Albert Hall, London, Sabotage (1936), Saboteur (1942), Salvador Dalí, San Francisco, California, Santa Rosa, California, Saul Bass, Shadow of a Doubt (1943), Strangers on a Train (1951), The Man Who Knew Too Much (1934), The Wrong Man (1956), To Catch a Thief (1955), Topaz (1969), Universal Studios, Vertigo (1958), Warner Bros.
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Abstract
In this paper we propose guidelines regarding the influence of the audiovisual in our perception of the city, selecting for this purpose some of Alfred Hitchcock´s movies. The filmmaker's relationship with the city is ambivalent, sometimes shows the city as a source of symbolic references, while in other cases does not hesitate to stigmatize traditional compact city (downtowns) and go for extensive planning models (suburb). It also describes a new form of urban tourism that exploits the scenarios that appear in movies as a tourism resource.
