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Hitchcock and the Making of "Marnie" (The Scarecrow Filmmakers Series) de [Moral, Tony Lee]
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Hitchcock and the Making of "Marnie" (The Scarecrow Filmmakers Series) Versión Kindle

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Descripción del producto


Moral's research is impressive...he relies extensively on the special collection of Hitchcock materials deposited at the Margaret Herrick Library of Academy of Motion Picture Arts and Sciences after the director's death. He has supplemented this material with a series of interviews he conducted with many of those who worked on the film including...Diane Baker, Robert Boyle, Sean Connery, Winston Graham...and Tippi Hedren...a firstrate history of the development of Marnie... Cineaste Documentary filmmaker Moral chronicles the progress of the movie Marnie from its conception, writing, phases of production, and release in 1964, to critical interpretation and assimilation within the art film world. The film's feminist and political themes are examined and glossy black and white photographs are provided. Originally published in hardback in 2002. Reference and Research Book News A superior work of production history reasonable in scope and supported by ample evidence, both textual and otherwise. Ultimately, Hitchcock and the Making of Marnie is an engaging - and sorely needed - case study of how a film is made, and will satisfy students of cinema and scholars of Hitchcock, alike. Scope: An Online Journal of Film and Television Studies This book should be read by anyone interested in Marnie and in Hitchcock. Hitchcock Annual Impeccably researched and consistently fascinating in its accumulation of anecdotes and minutiae, this is unquestionably one of the best books ever written about the Master of Suspense. Outstanding. Five Stars> Film Review Tony Lee Moral has conducted a definitive investigation into the making and meaning of Marnie, which, for fans and scholars of Hitchcock, remains the suspense master's most enigmatic, controversial film. -- Patrick McGilligan, author, Alfred Hitchcock: Darkness and Light Who better than a film lover trained in zoology as well as psychology to write a book on Hitchcock's great, if controversial, Marnie? Tony Lee Moral fits the bill perfectly. -- Ken Mogg, Editor, The MacGuffin Tony Moral's meticulous research is the foundation of this fascinating book on the creative life of Hitchcock the filmmaker. The behind the scenes look at this famous director is full of insight and intelligence. It is an invaluable book and should be read by every film student and anyone who is the least bit interested in film. A very rewarding read. -- Diane Baker, Actress Tony Lee Moral is the perfect guide to the creative process that produces this fascinating movie. Crime Time Impeccably researched and consistently fascinating in its accumulation of anecdotes and minutiae, this is unquestionably one of the best books ever written about the Master of Suspense. Outstanding. Five Stars Film Review Moral has written a thoughtful, definitely well researched and strong study on the process of how this film was adapted, constructed, filmed and marketed as well as a great deal of attention to the original book's author, Winston Graham and how it was changed and adapted as a very different screenplay by Evan Hunter who had just finished working on The Birds for Hitchcock was employed to write a draft. Filmwerk

Descripción del producto

Hitchcock's 1964 psychological thriller "Marnie" generated wider critical controversy than any other film during his illustrious career. It is significant because the release of "Marnie" is commonly cited as the turning point in Hitchcock's career, a movie that has been called both his greatest masterpiece and the start of his decline in Hollywood. Divided into eight chapters, this study details the film from conception to postproduction and marketing, offering readers an opportunity of seeing the film-making process in action. Revealing previously unpublished production details and providing an oral history from several of its key participants, the book examines Marnie's place in Hitchcock's thematic career and Hitchcock's concept of pure cinema.

Detalles del producto

  • Formato: Versión Kindle
  • Tamaño del archivo: 3648 KB
  • Longitud de impresión: 240
  • Editor: Scarecrow Press (28 de noviembre de 2002)
  • Vendido por: Amazon Media EU S.à r.l.
  • Idioma: Inglés
  • ASIN: B002C73P1K
  • Texto a voz: Activado
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  • Tipografía mejorada: No activado
  • Valoración media de los clientes: Sé el primero en opinar sobre este producto
  • Clasificación en los más vendidos de Amazon: n.° 697.213 de Pago en Tienda Kindle (Ver el Top 100 de pago en Tienda Kindle)
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Opiniones de clientes más útiles en (beta) (Puede incluir opiniones del Programa de Recompensas de Opiniones Iniciales) 4.5 de un máximo de 5 estrellas 8 opiniones
10 de 10 personas piensan que la opinión es útil
3.0 de un máximo de 5 estrellas For fellow diehard "Marnie" fans 31 de enero de 2007
Por Bunthorne - Publicado en
Formato: Tapa blanda Compra verificada
I bought this book expecting--based on "the making of" in the title--a book along the lines of two books I'd enjoyed reading, Stephen Rebello's "Alfred Hitchcock and the Making of Psycho" and Dan Auiler's "Vertigo: The Making of a Hitchcock Classic." Tony Lee Moral takes a more academic approach. For me the book's strengths are its account of the screenplay's genesis and its refutation of Daniel Spoto's contention that Hitchcock adopted the movie's controversial technical "shortcuts" (the rear-projection scenes and the harbor matte painting) because he lost interest late in the production process. But the book's analytical passages seemed repetitious and, for me at least, less interesting. In addition, the book is marred by numerous typos and misspellings; Hitchcock's silent film "The Farmer's Wife" is listed as "The Fireman's Wife" (!). As a great fan of the often-underestimated "Marnie," I'm glad I read the book, but I wouldn't rank it on par with the Rebello and Auiler books.
7 de 8 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas For "Marnie" & Hitchcock buffs 15 de agosto de 2007
Por Dave - Publicado en
Formato: Tapa blanda Compra verificada
Definitely the most complete record of "Marnie," Hitchcock's 1964 film about a frigid kleptomaniac. Having gained an almost cult status over the years, it was labeled a flop when it was first released. Misunderstood and underappreciated, many have written about it over the years and helped elevate it into the category of flawed classic. This book does a very thorough and well documented job of addressing many of the criticisms that stuck to it (unfairly) over the years, especially the controversy over the use of rear projection and backdrops. Although Donald Spoto's book, "The Dark Side of Genius" gives an exciting and salacious account of Hitchcock being obsessed with Tippi Hedren, it is nowhere near as twisted as Spoto asserts. Fans of this film should definitely read this book for a deeper appreciation. This author actually has access to people and records from the film that nobody else has tapped into.
0 de 1 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Very smartly written! 2 de agosto de 2013
Por Amazon Customer - Publicado en
Formato: Versión Kindle Compra verificada
Mr. Moral has included tons of details, yet never gets boring. I loved reading about Sean Connery and how well liked he was on set.
11 de 11 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas the Truth About Marnie 7 de agosto de 2004
Por Nick Anez - Publicado en
Formato: Tapa dura
This thoroughly-researched book on Hitchcock's most controversial film is invaluable for anyone who has been entertained, intrigued , confused or even angered by MARNIE. As Mr. Moral illustrates, though it was dismissed by critics who didn't understand Hitchcock's expressionistic techniques and shunned by audiences who were disturbed by the film's themes, MARNIE is revealed to be one of the director' most personal works and one of his finest achievements. The author documents the film's history, from publication of the source novel through filming, release and current re-evaluation. The book reveals that Hitchcock's characteristic immersion into virtually every facet of the film's production reflected his intentions and aspirations concering this very personal - and partly autobiographical - project. Concerning the salacious rumors reported in the 1983 biography by Donald Spoto, Mr. Moral objectively presents the facts and allows readers to draw their own conclusions, the inescapable one being that Hitchcock may have been a frustrated Svengali but not a lecherous ogre. The author's interviews with numerous personnel associated with the film, on both sides of the camera, are all informative and create a balanced portrait of the director and his film. This book should supplant Spoto's book as the definitive reference work on the subject, particularly in conjuction with the recent biography of the director by Patrick McGilligan, an author who, like Mr. Moral, doesn't have a personal agenda. However, the book is primarily a documentation of all of the elements that Hitchcock utilized to create a film that has received so much belated but deserved attention in recent years and that continues to fascinate an increasing number of viewers four decades after its release. The commercial disappointment of MARNIE had a profound effect upon Hitchcock and his subsequent career but, as Mr. Moral illustrates, it has survived and emerged as one of the director's greatest works. This book is required reading for Hitchcock fans, film scholars and movie lovers.
4 de 5 personas piensan que la opinión es útil
4.0 de un máximo de 5 estrellas "Mumps said the doctor, measles said the nurse" 1 de junio de 2008
Por Kevin Killian - Publicado en
Formato: Tapa blanda
We're all of us big Marnie fans on this site, though sometimes I think it would have been a better movie if there were more people in it! Tony Lee Moral provides us with an inside glimpse into the making of Marnie and shows that, at least as filmed, there were more scenes for Martin Gabel and especially for Diane Baker, who gives a gracious enough interview here but must still be fuming at the way her part was so truncated.

We get the impression that Alma Reville, though not technically credited as an editor on the film, was always Hitch's backstage editor and that she was responsible for many of the odd gaps in the film. (The credited editor, George Tomasini, died of a heart attack the year MARNIE was finally released, worn out by the stress.) The Hitchcocks had wanted Grace Kelly--sort of--they don't seem overly upset when she quit the project--and thus Hitchcock went back to Tippi Hedren, whom he had discovered on a TV commercial and who had made her debut on THE BIRDS. The world knows the Tippi Hedren story and hos Hitch put her into the deep freeze early in the shooting of MARNIE, terribly sad, but he had made himself into a god and sometimes gods stumble and humans suffer. It was a little unnnerving hearing Louise Latham who played Marnie's mother, describe the way Hitch told her that he had Jessica Tandy in reserve if she, Latham, didn't shape up! As for Sean Connery, yes, perhaps MARNIE is better because Rod Taylor isn't in it, but it's a close call, too close for me to make.

Does the book make sense? It is close as we will ever get to discovering the truth about what happened to Grace, and what happened between Hitchcock and Tippi Hedren. What a shame that, one of ths screen's strongest and most powerful and lovely actresses was, for whatever reason, kept off the screen due to her owner's whims for many years, and when she came back, it was for the sort of parts that were beneath her. Apparently the higher ups didn't want to offend Hitch by employing her, so she was on an unofficial graylist, broken only by Chaplin who could have cared less what young Hitchcock thought, in A COUNTESS FROM HONG KONG, itself a film of many mysteries and a controversial reputation. Mr. Moral has done his homework and has convinced me, at any rate, that that flattery of Truffaut, Godard etc had turned Hitchcock's head into believing that he was making some sort of nouvelle vague love slash art film in which the artificial was to attain a primacy hitherto reserved for suspense in his oeuvre. Does the movie work, oh my God of course, even with just a handful of characters and that red thing going on.
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