Vertigo

Vertigo

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Main Articles

VERTIGO BY ALFRED HITCHCOCK

By Jaime Grijalba

Instead of focusing on the Madeleine/Judy conundrum, I’ll tackle the issue of James Stewart’s character, Scottie. Does he have a double? I ponder two possibilities.

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Main Articles

OBSESSIVELY DOUBLE BODY: BRIAN DE PALMA’S SYMMETRY

By Victor Bruno

But let’s get back to the symmetry. How does it come to reality? When do we detect it in his work? The first thing we have to understand is that it is not only visual, but also thematic and spiritual. Like any good filmmaker, he is concerned about bringing ideas into images. I will use two of his films to try to illustrate a little of this idea. The films are Obsession (1976) and Body Double (1984), made almost a decade apart but with common themes and visual logics.

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Artículos

AQUÍ ESTOY, AQUÍ NO DE ELISA ELIASH

Por Jaime Grijalba

Como si el clásico filme (Vértigo) hubiera dado una vuelta por esas estereotípicas ferias carnavalescas que pueblan el imaginario del cine negro, y hubiera entrado en esas mismas míticas casas de espejos, y se hubiera visto enfrentado a un espejo que deforma. El reflejo deforme es Aquí estoy, aquí no (Chile, 2012).

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Artículos

VERTIGO Y LOST HIGHWAY: DOBLES FEMENINOS EN ALFRED HITCHCOCK Y DAVID LYNCH

Por José Carlos Cabrejo

El cine de Alfred Hitchcock trató el tema de la doblez de muchas maneras. Los personajes que interpretan Otto Kruger y Joseph Cotten en Sabotaje (1942) y La sombra de una duda (1943) respectivamente, esconden detrás de su apariencia cálida y encantadora sus lazos con un mundo sórdido y criminal. Podemos encontrar variaciones de este tipo de doblez en Psicosis (1960) y Frenesí (1972), cintas en que asesinos en serie se enmascaran detrás de la imagen de un tímido administrador de motel o de un afable verdulero.

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Q&A

Q & A: JOHAN GRIMONPREZ

By Pascale Cassagnau

The images of the world, of reality, that televison returns, report of an indirect echo, of a real taken for second degree: the immediate history is mediated through the reflection of the image of reality, as a fiction of reality. The cinema of Johan Grimonprez demonstrates this loop, asking in its recent projects what Hitchcock’s cinema offered to television.

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