![]() ![]() ![]() The errors that undoubtedly remain are my own. Finally, I am grateful to David Greven for his comments on the final section that prompted some small, but important revisions prior to this posting. Thanks too, to Murray Smith and Thomas Wartenberg for their comments on the submission to JAAC. My thanks to Malcolm Turvey for his penetrating criticisms of an early draft. Rather than the essay be lost forever, I have decided to post it online. However, this version did not include what I considered the key final section of the essay for reasons of space. A shorter version of this essay was published as “Hitchcock and Cavell” in the Journal of Aesthetics and Art Criticism 64, Number 1 (Winter 2006), Special Issue on Film as Philosophy. I surmise that this was because it was too critical of Cavell rather than for any scholarly deficiencies. It was revised in 2009, but it was not in the end accepted for publication. This paper was originally written in 2005 for a conference and book. I thinks he has done his utmost to express human psychology in cinematic language In conclusion, I would like to argue that Hitchcock's long take was an attempt to transcend the easy use of the montage, and explored a way to express everything in a continuous fashion without breaking the continuity of time. What Gallafent saw in this long take is the eyeline of characters displaying that each person had a sense of shame about the past.Through this study, I could find that Hitchcock's long take plays a different narrative role in both films, and that these long takes are, in effect, innovating cinematic time and narrative form in his film style. In addition, I study the long take of Under Capricorn, referring the point of view of Ad Gallafent, who has noted that the appearance of the eyelines of the characters is effective in the long take in this film. However, Donald Sporto commented that the attempt was boring for the audience, but he considered Hitchcock's aim to reflect the inner state of the characters through cinematic movement more important. What was remarkable in Rope was that this film looks like it was done in one shot. This paper aims to study what Hitchcock 's attempt has resulted in the narrative of the films. Capricorn rising means that Capricorn was the zodiac sign that was on the eastern horizon at the time of your birth. Hitchcock often used cut editing to create suspense in his films. However, in Rope, the style that reconstructed the movement of the camera precisely followed his decoupage style. ![]() These films made a new attempt that differed from the montage as a cinematic expression in Hitchcock's films. In these films, we can see the long take through camera movement. In this article, I examine Hitchcock's use of the long take in Rope and Under Capricorn. ![]()
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