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Hitchcock and the Anxiety of Authorship examines issues of cinema
authorship engaged by and dynamized within the director's films. A
unique study of self-reflexivity in Hitchcock's work from his
earliest English silents to his final Hollywood features, this book
considers how the director's releases constitute ever-shifting
meditations on the conditions and struggles of creative agency in
cinema. Abramson explores how, located in literal and emblematic
sites of dramatic production, exhibition, and reception, and
populated by figures of directors, actors, and audiences,
Hitchcock's films exhibit a complicated, often disturbing vision of
authorship - one that consistently problematizes rather than
exemplifies the director's longstanding auteurist image. Viewing
Hitchcock in a striking new light, Abramson analyzes these
allegories of vexed agency in the context of his concepts of and
commentary on the troubled association between cinema artistry and
authorship, as well as the changing cultural, industrial,
theoretical, and historical milieus in which his features were
produced. Accordingly, the book illuminates how Hitchcock and his
cinema register the constant dynamics that constitute film
authorship.
This volume examines Mary Poppins as a 1960s film reflecting and
invested in its radically changing times, a largely but not
unmitigatedly antiestablishment musical resonant with conditions
and issues powerfully affecting baby boomers. Among the explosion
of baby boomer films that rocked the 1960s, the most stirring early
work was likely Mary Poppins. This 1964 film captivated young
audiences, earning top-grossing ticket sales, multiple Oscars, and
landmark status as a cultural phenomenon. The book illuminates Mary
Poppins as a musical teeming with preoccupations of American youth
in the early-to-mid-1960s, including antiestablishment desires,
anxieties, and pleasures. Reading against the dominant grain, this
book deciphers Mary Poppins as a mid-century reflection that spans
the generation gap, dysfunctional nuclear family, youth unrest,
activism including feminist advocacy, counterculturalism,
capitalist imperialism, race relations, socially conscious music,
and hallucinogenic consciousness expansion. Conjunctively, the book
explores tensions inherent in this studio production as a
mainstream Disney release evoking imperatives of 1960s American
youth while sanitizing figures and values representing radical
change. Further, examining the film's collective authorship, this
volume traces Mary Poppins' origins in the writings and life of
nonconformist author P.L. Travers as well as in Disney cinema and
the studio's adaptation processes. Analysis extends to diverse
facets of Mary Poppins' reception, including the shifting image of
its star, Julie Andrews, the film's influence on popular culture
and controversy among some as an adaptation, its appropriation by
drug culture, association with the teenpic, and status as cinema of
social consciousness. This book is ideal for students, researchers,
and scholars of cinema studies and youth culture.
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