Overview

Alfred Hitchcock is said to have once remarked, Actors are cattle, a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious to Janet Leigh in Psycho. Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality. Detailing the fluidity of acting, Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could do nothing well--but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation.

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George Newbern is an Earphones Award-winning narrator and a television and film actor best known for his roles as Brian MacKenzie in Father of the Bride and Father of the Bride Part II, as well as Danny in Friends. As a voice actor, he is notable for his role as Superman on the Cartoon Newtork series Static Shock, Justice League, and Justice League Unlimited. He has guest starred on many television series, including Scandal, The Mentalist, Private Practice, CSI: Miami, and Numb3rs. He holds a BA in theater arts from Northwestern University. Dan Callahan is the author of Barbara Stanwyck: The Miracle Woman, Vanessa: The Life of Vanessa Redgrave, The Art of American Screen Acting, 1912-1960, and The Art of American Screen Acting, 1960 to Today. He has written about film for Sight & Sound, Film Comment, Nylon, the Village Voice, and many other publications.

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