Dark Energy: Hitchcock's Absolute Camera and the Physics of Cinematic Spacetime
To link Einstein with cinema and Hitchcock with modern physics is a daring experiment, and works on many levels. It is delightful for a physicist (and Hitchcock fan) to see terms like spacetime, antimatter, dark energy, black hole, entropy, etc. turn up as metaphors in a Hitchcock study. A thoroughly enjoyable read. -- Nandor Bokor, Lecturer In The Department Of Physics, Budapest University Of Technology And Economics, HungaryThe 20th Century scientific theories of relativity, quantum mechanics and cosmology substantially changed the way we view the world. In interweaving these revolutions and their implications with the concurrent emergence of moving images as the predominant means of cultural expression, exemplified by their arguably greatest artist and innovator, Phil Skerry does much more than find a fresh angle on the depth in light and dark, the order and chaos in Hitchcock's visual storytelling. Always careful to emphasize that his approach implies the application of universal scientific truths only as metaphors to the most comprehensive (and, as Skerry argues, indeed spatiotemporal art form), he yet paints a bigger and most intriguing picture on how the 20th century zeitgeist was shaped through seeing the world differently, both in science and cinema. A most intriguing read, admirably aiming to bridge the regrettable modern gap between sciences and arts, via the genius of the likes of Einstein and Hitchcock, and finding nothing less than philosophy therein. -- Ulrich Ruedel, Conservation Technology Manager At British Film Institute, UK