Du "Royal Albert Hall" au "Mount Rushmore" en passant par la "Statue de la Liberté" : Une plongée dans les décors des films d’Alfred Hitchcock

Film sets can play a great variety of different roles. They can be symbolic, creating worlds or atmospheres or purely aesthetic.

With the help of many extracts, we will focus on film sets in all their capacities through an analysis of the work of Alfred Hitchcock, a film-maker who had an incomparable talent for exploiting the dramatic, aesthetic and, above all, symbolic potential of film sets, whether natural or built in studios.

The ‘Royal Albert Hall’ in The Man Who Knew Too Much (1934, 1956), the ‘Statue of Liberty’ in Saboteur (1942), the lifeboat in Lifeboat (1944), the studio-built back yard in Rear Window (1954), the natural setting of Vermont in The Trouble With Harry (1955), the city of San Francisco in Vertigo (1958), Mount Rushmore in North by Northwest (1959), the city of San Francisco in Vertigo (1958), the house in Psycho (1960), inspired by Edward Hopper, and the London neighbourhood of Covent Garden in Frenzy (1972) are just a few examples of captivating and iconic "Hitchcockian" sets.

Lecture in French punctuated by a large number of extracts from films.

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In accordance with the health regulations linked to the Covid-19 Pandemic, the number of visitors is limited and prior registration for the event is required. 
Wearing a mask upon entrance, as well as maintaining a social distance between visitors is mandatory.