A full analysis of Hitchcock's masterful technique and influences will be the central focus of this Lecture.
To be held in Mylor Theatre, Truro College
After moving to Hollywood, Hitch created several masterpieces of cinema including ‘Vertigo’ (1958) and ‘Psycho’ (1960). 'Vertigo' has been recently voted by critics as the best ever film overtaking 'Citizen Kane'. Together we will explore Hitchcock's dark film about sexual obsession. Taking a shower still fills many people with dread and forboding thanks to the Hitchcock modern Horror classic of 1960. A full analysis of Hitchcock's masterful technique and influences will be the central focus of this Lecture. The French New Wave critics of Cahiers du Cinema argued that Hitchcock’s films should be regarded as artistic masterworks. Alfred Hitchcock remains by far the most studied and revered film director of all time.
Poster for 'Psycho' Lecturer, John Francis
As a former lecturer at Art Institute Bournemouth and Exeter University, John Francis has made a career out of educating students on film and animation. But he started out as a painter, and even had a job as an ivory engraver.
How did you become an Arts Society Lecturer?
I’ve been a Lecturer for about a year. I had heard of The Arts Society through a friend here in Devon who is also accredited, and I thought it would be a great way to continue my interest in art and film since retiring from my university career. It’s a different audience, but it’s a great opportunity to continue lecturing and researching in the areas I’m really passionate about.
It must be helpful to draw on your experience as an educator.
Yes, but there’s always a chance that things can go wrong. One time during a lecture in Australia, my film clip wouldn’t play, so I ended up miming the scene from Dial M For Murder when Grace Kelly is strangled – I had to imitate the whole thing! It was a tall order, but I think if the audience feel you’re doing your best, they appreciate it.
How did you become interested in cinema?
I’m interested in it in the broadest sense, from experimental cinema to animation to Hollywood. I started off as a painter and went to art school. I was a naturally good drawer, and that had been my way out of a secondary modern, where everyone either joined the army or became a welder at the shipyards. Painting led to experimental video, and then I felt I wanted to know about the history and theory of cinema. I’m at home in both camps, and unlike many art historians who might know a lot but have never held a paintbrush, I have the practical experience.