Dark Energy: Hitchcock's Absolute Camera and the Physics of Cinematic Spacetime

198 Pages·2013·1.35 MB·English

by  Philip J. Skerry

Dark Energy

Dark Energy
Hitchcock’s absolute camera and the
physics of cinematic spacetime
PHILIP J. SKERRY
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
1385 Broadway 50 Bedford Square
New York London
NY 10018 WC1B 3DP
USA UK
www.bloomsbury.com
First published 2013
© Philip J. Skerry, 2013
All rights reserved. No part of this publication may be reproduced or transmitted in any
form or by any means, electronic or mechanical, including photocopying, recording, or
any information storage or retrieval system, without prior permission in writing from the
publishers.
No responsibility for loss caused to any individual or organization acting on or refraining
from action as a result of the material in this publication can be accepted by Bloomsbury
Academic or the author.
Library of Congress Cataloging-in-Publication Data
Skerry, Philip J.
Dark energy : Hitchcock’s absolute camera and the physics of cinematic spacetime / by
Philip J. Skerry.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4411-8401-6 (hardcover : alk. paper) -- ISBN 978-1-4411-8945-5 (pbk. : alk. paper)
1. Hitchcock, Alfred, 1899-1980--Criticism and interpretation. 2. Cinematography. I. Title.
PN1998.3.H58S56 2013
791.4302’33092--dc23
2013004492
ISBN: 978-1-6235-6421-6
Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN
For my wife (with apologies to Alfred Hitchcock):
I beg permission to mention by name only four people who have given
me the most affection, appreciation, encouragement, and constant
collaboration. The first of the four is a brilliant psychotherapist; the
second is a loyal friend and companion; the third is the mother of my
children, Ethan and Jessica, and the grandmother of Louisa, Simon,
Amelia, Frankie, and Oliver; and the fourth is as fine a homemaker and
cook as ever performed miracles in a domestic kitchen. And their names
are Amy Simon Skerry.

Contents
Acknowledgments ix
Prologue: On time, light, and Hitchcock xi
Introduction: Searching for light in the darkness xv
1 In search of light and enlightenment 1
2 Hitchcock’s “absolute camera” 11
3 Rear Window: The apotheosis of the absolute camera 23
4 Two princes of Dark Energy 45
5 Psycho: A New Paradigm 79
6 The quantum universe of Vertigo 95
7 The physicists speak 115
Epilogue 151
Notes 153
Bibliography 163
Index 169

Acknowledgments
In my book on the shower scene in Psycho, I listed my acknowledgments
like film credits, with above- and below-the-line collaborators. I should like
to continue that process in this space.
Special thanks go to my above-the-line interviewees, especially Sean
Carroll, Martin Bojowald, Uri Hasson, and Charlie Rose. Without their contri-
butions, I wouldn’t have had a book. Thanks also to my very patient editor,
Katie Gallof, who tolerated my requests for deadline extensions and gave
me much needed encouragement. David Barker, the editor for my Psycho
book, heard my pitch for the dark energy idea and helped me to formulate
a proposal that passed muster with Continuum’s editorial board. I got very
valuable information on photography and cinematography from Bruce Cline
and Ian Takahashi. My manuscript would not have been completed were it
not for the fabulous typing skills of Dee Bassett and the last minute editing
and typing talents of my sister-in-law, Alice Simon.
My below-the-line contributors are many. Jim Dailey and John Covolo, my
colleagues at Lakeland Community College, gave valuable proofreading and
editing help. I was especially encouraged by John, who told me early on that
my approach was “bold.” I owe a special debt of gratitude to my Hitchcock
colleagues and friends who helped me along the way: Nandor Bokor, Uli
Ruedel, Ken Mogg, John Baxter, and Kevin Brownlow. While I was doing
research in Los Angeles, I consulted the prodigious Hitchcock collection
at the Margaret Herrick Library. Thanks to Barbara Hall and her staff. My
Los Angeles stay was made possible by the hospitality of my niece, Beth
Hynes, and her husband, Kevin, both of whom listened to my dark energy
idea with straight faces! Their children, Kevin and Killian, gave me special
joy while I was visiting. A huge “thank you” to my family and to my patient
wife Amy, who offered me encouragement and patience while I labored
over this challenging project. For the photographs, I am indebted to Ron and
Howard Mandelbaum and their staff at Photofest and to Gary Goodyear, who
enhanced the Relativity Train photo.
There is no above- or below-the-line acknowledgment that could adequately
express my gratitude to and admiration for the two great geniuses who were
the guiding spirits of this book: Alfred Hitchcock and Albert Einstein.