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Hitchcock (Revised Edition)

In the preface to the revised edition, Truffaut explains that "In 1962, while in New York to present Jules and Jim, I noticed that every journalist asked me the same question: Why do the critics of Cahiers du Cinéma take Hitchcock so seriously? He's rich and successful, but his movies have no substance." In the course of an interview during which I praised Rear Window to the skies, an American critic surprised me by commenting, you love Rear Window because you know nothing about Greenwich Village. To this absurd statement, I replied, 'Rear Window is not about Greenwich Village, it is a film about cinema, and I do know cinema.'

Hitchcock (Revised Edition)

The book helped establish Hitchcock's reputation as an auteur in the United States. Reviewing the revised edition in The New York Times Book Review, Phillip Lopate wrote that "One is ravished by the density of insights into cinematic questions...Truffaut performed a tour de force of tact in getting this ordinarily guarded man to open up as he had never done before (and never would again)... If the 1967 Hitchcock/Truffaut can now be seen as something of a classic, this revised version is even better."[9] Truffaut would pay homage to Hitchcock in his films The Bride Wore Black, Mississippi Mermaid and Confidentially Yours and would work with composer Bernard Herrmann, who scored several Hitchcock films. Truffaut remarks that "It has often occurred to me that one could make a first-rate comedy about the making of a movie"; in 1973, he directed Day For Night, a comedy about the making of a movie in which he plays the director.[10]

This completely revised and updated edition captures the advances in vascular plant systematics over the decades since publication of the first edition. These advances, together with significant changes in plant nomenclature, the description of taxa new to science from the region, and the recent documentation of new native and nonnative species in the Pacific Northwest required a thorough revision of this authoritative work.

These enhancements make this new edition the most comprehensive reference on Pacific Northwest vascular plants for professional and amateur botanists, ecologists, rare plant biologists, plant taxonomy instructors, land managers, nursery professionals, and gardeners.

When Hitchcock's Films was first published, it quickly became known as a new kind of book on film and as a necessary text in the growing body of Hitchcock criticism. This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a critic--including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life and have remained deeply intertwined through the years. This revised edition also includes a new chapter on Marnie.

By the late A. S. HITCHCOCK (died December 16, 1935), principal botanist, Division of Plant Exploration and Introduction; second edition revised by AGNES CHASE, formerly senior botanist and later collaborator, Division of Plant Exploration and Introduction, Bureau of Plant Industry, Soils, and Agnculturat Engineering, Agricultural Research Administration, and research associate, United States National Museum, Smithsonian Institution.

In "Remembrances of Dissonances Past: The Two PublishedEditions of Ives's Concord Sonata," Geoffrey Block makes a solid,broadly considered, and convincing argument for assessing Ives'srevisions of the Concord Sonata as restorations of earlier ideas and not asevidence that the composer added dissonances in order to appear more modern.Block discusses a number of differences between the first and second editionsbut focuses especially on the ubiquitous Beethoven motive (the opening fournotes of the Fifth Symphony). His careful research is persuasive, but hismost illuminating work occurs when he broadens his scope from trackingmotivic sightings to considering their implications, and asks how Ives'schanges affect the way listeners hear the piece and "perceiveBeethoven's presence" (p. 34). One could enjoy an entire essay onthis topic alone.

With little fanfare, Wiley Hitchcock argues the need for acritical edition of Ives's songs. Using "The Cage,""Tolerance," and "Like a Sick Eagle" as case studies, heoffers a primer on how to create a critical edition. Beyond the mechanicalquestions are ones that involve Ives's intentions and how they may ormay not be manifested in his notational unorthodoxies. Like Block, Hitchcockinterprets his findings as self-evident refutations of Elliott Carter'sand Maynard Solomon's charges that Ives's revisions to his pieceswere motivated by a desire to appear more modern. Hitchcock asks, "Inrevised versions of songs such as 'Tolerance' and 'Like a SickEagle' are we confronting an Ives 'tinkering' with an earlierpiece? Yes. 'Jacking up the dissonance' in it? Yes. 'Silentlymodernizing' his music? Not at all: we are confronting a composer who isrestoring in the 1930s details of his original scores of the 1900s, havingdecided that his arrangements of them in the 1920s had unnecessarilysimplified and weaken ed them" (p. 76), Hitchcock concludes, "Itseems to me that the answers to these questions reveal a case, not ofmendacity, but precisely one of 'veracity'" (ibid.). Enoughsaid.

Chicago style is most commonly used to cite sources within the social sciences, arts, and humanities. These resources, revised according to the 17th edition of The Chicago Manual of Style, offer examples for the general format of Chicago style research papers, in-text citations, endnotes/footnotes, and bibliographies: 041b061a72

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