Professional Documents
Culture Documents
1 Early life
3
ments for a BIP musical lm revue Elstree Calling (1930)
and directed a short lm featuring two Film Weekly scholarship winners, An Elastic Aair (1930). Another BIP
musical revue, Harmony Heaven (1929), reportedly had
minor input from Hitchcock, but his name does not appear in the credits.
director. Hitchcock said he was misquoted: I said 'Actors should be treated like cattle'.[61]
Lauded in Britain where he was dubbed Alfred the
Great by Picturegoer magazine, by the end of the 1930s
Hitchcocks reputation was beginning to soar overseas,
with a New York Times feature writer stating; Three
unique and valuable institutions the British have that we in
America have not. Magna Carta, the Tower Bridge and
Alfred Hitchcock, the greatest director of screen melodramas in the world.[62] Variety magazine referred to
him as, probably the best native director in England.[63]
David O. Selznick signed Hitchcock to a seven-year
contract beginning in March 1939, and the Hitchcocks
moved to Hollywood.[64]
3 HOLLYWOOD
3.1
1940s lms
3.1
1940s lms
5
pears in the lm is ten minutes shorter than was originally envisioned, having been edited by Selznick to make
it play more eectively.[88] Two point-of-view shots
were achieved by building a large wooden hand (which
would appear to belong to the character whose point
of view the camera took) and out-sized props for it to
hold: a bucket-sized glass of milk and a large wooden
gun. For added novelty and impact, the climactic gunshot
was hand-coloured red on (some copies of) the blackand-white lm. Some of the original musical score by
Mikls Rzsa (which makes use of the theremin) was
later adapted by the composer into a concert piano concerto.
3 HOLLYWOOD
3.2
3.3
1960: Psycho
In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent.[103] He is hotly pursued across the United States by enemy agents, apparently
one of them being Eve Kendall (Eva Marie Saint), in fact
working undercover.
3.4
3 HOLLYWOOD
After 1960
murders in the early 1950s, and the Jack the Ripper murders in 1888. The basic story recycles his early lm The
Lodger. Richard Blaney (Jon Finch), a volatile barkeeper
with a history of explosive anger, becomes the prime suspect for the Necktie Murders, which are actually committed by his friend Bob Rusk (Barry Foster).[118] This
time, Hitchcock makes the victim and villain kindreds,
rather than opposites, as in Strangers on a Train. Only
one of them, however, has crossed the line to murder.[118]
For the rst time, Hitchcock allowed nudity and profane
language, which had previously been taboo, in one of his
lms. He also shows rare sympathy for the chief inspector
and his comic domestic life.[119]
Biographers have noted that Hitchcock had always
pushed the limits of lm censorship, often managing to
fool Joseph Breen, the longtime head of Hollywoods
Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until
the mid-1960s. Yet Patrick McGilligan wrote that Breen
and others often realised that Hitchcock was inserting
such things and were actually amused as well as alarmed
by Hitchcocks inescapable inferences.[120] Beginning
with Torn Curtain, Hitchcock was nally able to blatantly
include plot elements previously forbidden in American
lms and this continued for the remainder of his lm career.
9
Williams. Based on the Victor Canning novel The Rainbird Pattern, the novels tone is more sinister and dark
than what Hitchcock wanted for the lm. Screenwriter
Ernest Lehman originally wrote the lm with a dark tone
but was pushed to a lighter, more comical tone by Hitchcock. The lm went through various titles including Deceit and Missing Heir. It was changed to Family Plot at
the suggestion of the studio.
3.5
6 Psychology of characters
Hitchcocks lms sometimes feature characters struggling
in their relationships with their mothers. In North by
Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The
Birds (1963), the Rod Taylor character, an innocent man,
nds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy).
The killer in Frenzy (1972) has a loathing of women but
idolises his mother. The villain Bruno in Strangers on a
Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conictual
relationship with his mother, who is (correctly) suspicious
of his new bride Alicia Huberman (Ingrid Bergman).
Norman Bates has troubles with his mother in Psycho.
Hitchcock heroines tend to be blondes.[8][9] The famous
victims in The Lodger are all blondes. In The 39 Steps,
Hitchcocks glamorous blonde star, Madeleine Carroll,
is put in handcus. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a
Thief (1955), Francie (Grace Kelly) oers to help a man
she believes is a burglar. In Rear Window, Lisa (Grace
Kelly again) risks her life by breaking into Lars Thorwalds apartment. The best-known example is in Psycho
where Janet Leigh's unfortunate character steals $40,000
and is murdered by a reclusive psychopath. Hitchcocks
last blonde heroine wasyears after Dany Robin and her
daughter Claude Jade in TopazBarbara Harris as a
phony psychic turned amateur sleuth in his nal lm,
1976s Family Plot. In the same lm, the diamond smuggler played by Karen Black could also t that role, as she
wears a long blonde wig in various scenes and becomes
increasingly uncomfortable about her line of work.
10
7 STYLE OF WORKING
7
7.1
Style of working
Writing
7.2
However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock at
Work, written by Bill Krohn, the American correspondent of Cahiers du cinma. Krohn, after investigating
several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection
of storyboards, and other production material, has observed that Hitchcocks work often deviated from how
the screenplay was written or how the lm was originally
envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of
commentators on his movies, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the
studios. A great example would be the celebrated cropspraying sequence of North by Northwest which was not
storyboarded at all. After the scene was lmed, the publicity department asked Hitchcock to make storyboards
to promote the lm and Hitchcock in turn hired an artist
to match the scenes in detail.
Even when storyboards were made, scenes that were shot
diered from them signicantly. Krohns extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was exible enough to change
a lms conception during its production. Another example Krohn notes is the American remake of The Man Who
Knew Too Much, whose shooting schedule commenced
without a nished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcocks lms, including
Strangers on a Train and Topaz. While Hitchcock did do
a great deal of preparation for all his movies, he was fully
cognizant that the actual lm-making process often deviated from the best-laid plans and was exible to adapt to
the changes and needs of production as his lms were not
free from the normal hassles faced and common routines
utilized during many other lm productions.
Hitchcocks lms were strongly believed to have been extensively storyboarded to the nest detail by the majority of commentators over the years. He was reported to
have never even bothered looking through the viewnder,
since he did not need to, though in publicity photos he was
shown doing so. He also used this as an excuse to never
have to change his lms from his initial vision. If a studio
asked him to change a lm, he would claim that it was already shot in a single way, and that there were no alternate
takes to consider.
Krohns work also sheds light on Hitchcocks practice of
11
generally shooting in chronological order, which he notes
sent many lms over budget and over schedule and, more
importantly, diered from the standard operating procedure of Hollywood in the Studio System Era. Equally
important is Hitchcocks tendency to shoot alternate takes
of scenes. This diered from coverage in that the lms
were not necessarily shot from varying angles so as to give
the editor options to shape the lm how he/she chooses
(often under the producers aegis). Rather they represented Hitchcocks tendency of giving himself options
in the editing room, where he would provide advice to
his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcocks personal papers, script revisions and the like refute the notion
of Hitchcock as a director who was always in control of
his lms, whose vision of his lms did not change during
production, which Krohn notes has remained the central
long-standing myth of Alfred Hitchcock.
His fastidiousness and attention to detail also found its
way into each lm poster for his lms. Hitchcock preferred to work with the best talent of his daylm poster
designers such as Bill Gold and Saul Bassand kept them
busy with countless rounds of revision until he felt that
the single image of the poster accurately represented his
entire lm.
7.3
Approach to actors
The length of a lm should be directly related to the endurance of the human bladder.
Alfred Hitchcock
Similarly, much of Hitchcocks supposed dislike of actors
has been exaggerated. Hitchcock simply did not tolerate
the method approach, as he believed that actors should
only concentrate on their performances and leave work
on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the
method actor is OK in the theatre because he has a free
space to move about. But when it comes to cutting the
face and what he sees and so forth, there must be some
discipline'.[132] He often used the same actors in many of
his lms.
For Hitchcock, the actors, like the props, were part of the
lms setting, as he said to Truaut:
In my opinion, the chief requisite for an actor is the ability to do nothing well, which is
by no means as easy as it sounds. He should
be willing to be utilised and wholly integrated
into the picture by the director and the camera. He must allow the camera to determine
the proper emphasis and the most eective dramatic highlights.[133]
Regarding Hitchcocks sometimes less than pleasant relationship with actors, there was a persistent rumour that
he had said that actors were cattle. Hitchcock addressed
this story in his interview with Franois Truaut:
I'm not quite sure in what context I might
have made such a statement. It may have been
made ... when we used actors who were simultaneously performing in stage plays. When
they had a matinee, and I suspected they were
allowing themselves plenty of time for a very
leisurely lunch. And this meant that we had
to shoot our scenes at breakneck speed so that
the actors could get out on time. I couldn't
help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in
the cab, on the way to the theatre, and get there
in time to put on their make-up and go on stage.
I had no use for that kind of actor.[134]
Carole Lombard, tweaking Hitchcock and drumming up
a little publicity, brought some cows along with her when
she reported to the set of Mr. and Mrs. Smith.[134]
In the late 1950s, French New Wave critics, especially
ric Rohmer, Claude Chabrol and Franois Truaut,
were among the rst to see and promote Hitchcocks lms
as artistic works. Hitchcock was one of the rst directors
to whom they applied their auteur theory, which stresses
the artistic authority of the director in the lm-making
process.
12
Globes, eight Laurel Awards, and ve lifetime achievement awards including the rst BAFTA Academy Fellowship Award, as well as being ve times nominated for,
albeit never winning, an Academy Award as Best Director. His lm Rebecca (nominated for 11 Oscars) won the
Academy Award for Best Picture of 1940particularly
notable as another Hitchcock lm, Foreign Correspondent, was also nominated that same year.[135]
The title-sequence of the show pictured a minimalist caricature of Hitchcocks prole (he drew it himself; it is
composed of only nine strokes), which his real silhouette then lled. His introductions before the stories in
his program always included some sort of wry humour,
such as the description of a recent multi-person execution
hampered by having only one electric chair, while two are
now shown with a sign Two chairsno waiting!". He directed 18 episodes of the TV series himself, which aired
from 1955 to 1965 in two versions. It became The Alfred
Hitchcock Hour in 1962.
The series used a curious little tune as its title-theme. Funeral March of a Marionette, by the French composer
Charles Gounod (18181893),[140][141] the composer of
the 1859 opera Faust, was suggested to him by composer
Bernard Herrmann.
Arthur Fiedler and the Boston Pops Orchestra included
the piece on one of their extended play 45-rpm discs for
RCA Victor during the 1950s. Alfred Hitchcock Presents
was parodied by Friz Freleng's 1961 cartoon The Last
Hungry Cat, which contains a plot similar to Blackmail.
13
Bloch, H. G. Wells (The War of the Worlds), Robert Louis
Leo G. Carroll: Rebecca (1940), Suspicion (1941),
Stevenson, Sir Arthur Conan Doyle, Mark Twain and the
Spellbound (1945), The Paradine Case (1947),
creator of The Three Investigators, Robert Arthur. In
Strangers on a Train (1951), and North By Northa similar manner, Hitchcocks name was licensed for a
west (1959)
digest-sized monthly, Alfred Hitchcocks Mystery Magazine, which has been published since 1956.
5 lms
Hitchcock also wrote a mystery story for Look magazine
in 1943, The Murder of Monty Woolley". This was a
Hannah Jones: Downhill (1927), Champagne
sequence of captioned photographs inviting the reader
(1928), Blackmail (1929), Murder! (1930), and
to inspect the pictures for clues to the murderers idenRich and Strange (1932)
tity; Hitchcock cast the performers as themselves, such as
Woolley, Doris Merrick and make-up man Guy Pearce,
whom Hitchcock identied, in the last photo, as the mur- 4 lms
derer. The article was reprinted in Games Magazine in
November/December 1980.
Donald Calthrop: Blackmail (1929), Murder!
(1930), Juno and the Paycock (1930), and Number
In September 2010, BBC Radio 7 broadcast a series
Seventeen (1932)
of ve fteen-minute programs entitled The Late Alfred
Hitchcock Presents with Michael Roberts impersonating
Alfred Hitchcock for introductory/concluding comments
and reading the stories in his own voice.[142] These ve
stories were originally intended for the television series,
but were rejected because of their rather gruesome nature:
The Waxwork by A. M. Burrage (broadcast 13
September 2010)
Sredni Vashtar by Saki (broadcast 14 September
2010)
The Perfectionist by Margaret St. Clair (broadcast
15 September 2010)
Being a Murderer Myself by Arthur Williams
(broadcast 16 September 2010)
The Dancing Partner by Jerome K. Jerome
(broadcast 17 September 2010)
10
Filmography
11
7 lms
Clare Greet: Number 13 (1922), The Ring (1927),
The Manxman (1929), Murder! (1930), The Man
Who Knew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)
6 lms
14
16 NOTES
12
Frequent collaborators
13
16 Notes
[1] Hamilton, Fiona. PM hails Christian inuence on national life. The Times (London). Retrieved 25 June 2013.
[2] Mogg, Ken. Alfred Hitchcock. Senses of Cinema. Sensesofcinema.com. Retrieved 18 July 2010.
14
Essays
In his 1938 essay Crime Does Not Pay, Hitchcock expounds the theory, citing William Powell and Lionel Bar- [12] Wood, Jennifer (6 July 2002). The 25 Most Inuential
Directors of All Time. MovieMaker. Moviemaker.com.
rymore as examples, that actors playing heavies prosper
Archived from the original on 8 June 2011. Retrieved 26
and ourish only after they switch from being villains to
April 2011.
being heroes.
15
See also
[13] The Directors Top Ten Directors. British Film Institute. Archived from the original on 14 May 2011. Retrieved 10 May 2011.
[14] Alfred Hitchcock prole at. Filmreference.com. Retrieved 28 May 2013.
[15] Death and the Master. Vanity Fair. April 1999.
Archived from the original on 28 November 2010. Retrieved 30 December 2010.
[16] Welcome to St. Ignatius College. Archived from the
original on 15 March 2008. Retrieved 5 March 2008.
[17] Patrick McGilligan, p. 7
[18] Spoto, Donald (1999). The Dark Side of Genius: The Life
of Alfred Hitchcock. Da Capo Press. p. 15. ISBN 978-0306-80932-3.
15
The
Internet Movie
16
16 NOTES
[99]
[73] Tom Scott Cadden (1984). What a bunch of characters!:
an entertaining guide to who played what in the movies. [100]
p. 131. Prentice-Hall,
[101]
[74] Thomas Leitch, The Encyclopedia of Alfred Hitchcock,
Facts on File, New York, pp. 324325, ISBN 978-08160-4386-6
[102]
[75] Patrick Humphries (1994). The Films of Alfred Hitchcock. p. 71.Random House Value Pub,
[76] ""Have You Heard?": The Story of Wartime Rumors.
Life. 13 July 1942. pp. 6873. Retrieved 17 November [103]
2011.
[104]
[77] In an interview on the Dick Cavett show aired on 8 June
1972, when asked if he had a personal favourite, Hitch- [105]
cock responded that it was Shadow of a Doubt.
[106]
[78] Leitch, p. 181
[107]
[79] Patrick McGilligan, p. 343
Leitch, p. 377
Leitch, pp. 376377
Donostia Zinemaldia Festival de San Sebastian International Film Festival. Archived from the original on 6
March 2008. Retrieved 6 March 2008.
Hitchcocks America Lifelong Learning Institute-Fall
2001: Hitchcock Filming Sites and Points of Interest in
the US. Sonoma State University. Retrieved 5 March
2008.
Leitch, p. 234
Leitch, p. 260
Leitch, p. 261
Leitch, p. 262
Leigh, Janet with Christopher Nickens. Psycho: Behind
the Scenes of the Classic Thriller. Harmony Press, 1995.
[80] Alfred Hitchcocks Bon Voyage & Aventure malgache. [108] Stephen Rebello, Alfred Hitchcock and the Making of PsyMilestone Films. Retrieved 11 February 2014.
cho, Soft Skull Press, Berkeley, 1990.
[81] Patrick McGilligan, pp. 346348
[109] Leitch, p. 32
[82] Jeries, Stuart (9 January 2015). The Holocaust lm that [110] Leitch, p. 33
was too shocking to show. The Guardian. Retrieved 1
[111] Goldman, Andrew (5 October 2012). The Revenge of
February 2015.
Alfred Hitchcocks Muse. New York Times.
[83] Memory of the Camps: Frequently Asked Questions.
[112] Millard, Rosie (27 July 2012). Hitchcocks girl. FinanPBS.
cial Times (Pearson PLC). Retrieved 19 January 2013.
[84] Patrick McGilligan, pp. 372374
[113] Moral, Tony Lee. Hitchcock and the Making of Marnie,
[85] Memory of the Camps. FRONTLINE. Public BroadScarecrow Pres, 2013 (Revised Edition), p 265. ISBN
casting System (PBS). Retrieved 20 July 2014.
978-0-8108-9107-4
[86] Boyd, David (2000). The Parted Eye: Spellbound and [114] Crum, Amanda (2 October 2012). Tippi Hedren: Alfred
Psychoanalysis.
Hitchcock Was Evil And Dangerous"". Retrieved 24
October 2012.
[87] Leitch, p. 310
[88] Le, Leonard J. (1987). Hitchcock and Selznick. Uni- [115] Millward, David (26 December 2012). BBC under re
over Hitchcock drama. The Daily Telegraph. Retrieved
versity of California Press. pp. 164165. ISBN 0-5204 January 2013.
21781-0.
17
Internet
[124] Henninger, Mark (6 December 2012). Alfred Hitch- [143] Staskiewicz, Keith. This Was The Year That Everyone
Was Obsessed with Lincoln & Hitchcock. Entertainment
cocks Surprise Ending. The Wall Street Journal.
Weekly, 28 December 2012, p. 19.
Archived from the original on 7 February 2013.
[125] Flint, Peter B. (30 April 1980). Alfred Hitchcock Dies; [144] Hitchcock on Hitchcock: Selected Writings and Interviews,
University of California Press, 46 republished essays and
A Master of Suspense; Alfred Hitchcock, Master of Susinterviews, 4 November 1997
pense and Celebrated Film Director, Dies at 80 Increasingly Pessimistic Sought Exotic Settings Technical Challenges Became a Draftsman Lured to Hollywood. The
New York Times. Retrieved 7 March 2008.
17 References
18 Further reading
Auiler, Dan: Hitchcocks notebooks: an authorised
and illustrated look inside the creative mind of Alfred
Hitchcock. New York, Avon Books, 1999. Much
useful background to the lms.
Barr, Charles: English Hitchcock. Cameron & Hollis, 1999. On the early lms of the director.
Clues: A Journal of Detection'31.1 (2013). Theme
issue on Hitchcock and adaptation.
Conrad, Peter: The Hitchcock Murders. Faber and
Faber, 2000. A highly personal and idiosyncratic
discussion of Hitchcocks oeuvre.
DeRosa, Steven: Writing with Hitchcock. Faber
and Faber, 2001. An examination of the collaboration between Hitchcock and screenwriter John
Michael Hayes, his most frequent writing collaborator in Hollywood. Their lms include Rear Window
and The Man Who Knew Too Much.
18
Deutelbaum, Marshall; Poague, Leland (ed.): A
Hitchcock Reader. Iowa State University Press,
1986. A wide-ranging collection of scholarly essays
on Hitchcock.
Durgnat, Raymond: The strange case of Alfred
Hitchcock Cambridge, Massachusetts: MIT Press,
1974 OCLC 1233570
Durgnat, Raymond; James, Nick; Gross, Larry:
Hitchcock British Film Institute, 1999 OCLC
42209162
Durgnat, Raymond: A long hard look at Psycho
London: British Film Institute Pub., 2002 OCLC
48883020
Giblin, Gary: Alfred Hitchcocks London. Midnight
Marquee Press, 2006, (Paperback: ISBN 978-1887664-67-7)
Gottlieb, Sidney: Hitchcock on Hitchcock. Faber
and Faber, 1995. Articles, lectures, etc. by Hitchcock himself. Basic reading on the director and his
lms.
Gottlieb, Sidney: Alfred Hitchcock: Interviews.
University Press of Mississippi, 2003. A collection
of Hitchcock interviews.
Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred
Hitchcock Presents Companion. OTR Pub, 2001,
(Paperback: ISBN 978-0-9703310-1-4)
Haener, Nicholas: Alfred Hitchcock. Longman,
2005. An undergraduate-level text.
Hitchcock, Patricia; Bouzereau, Laurent: Alma
Hitchcock: The Woman Behind the Man. Berkley,
2003.
Henry Keazor (ed.): Hitchcock und die Knste,
Schren, Marburg 2013, ISBN 978-3-89472-8281. Examines the way Hitchcock was inspired by
other arts such as literature, theatre, painting, architecture, music and cooking, used them in his lms,
and how they then inspired other art forms such as
dancing and media art.
Krohn, Bill: Hitchcock at Work. Phaidon, 2000.
Translated from the award-winning French edition.
The nitty-gritty of Hitchcocks lmmaking from
scripting to post-production.
Le, Leonard J.: Hitchcock and Selznick. Weidenfeld & Nicolson, 1987. An in-depth examination of
the rich collaboration between Hitchcock and David
O Selznick.
Loker, Altan: Film and Suspense. Traord Publishing, 2006. (ISBN 978-1-4120-5840-7). Discusses
the psychological means by which Hitchcock created the sense of reality in his works and manipulated his audience.
18 FURTHER READING
McDevitt, Jim; San Juan, Eric: A Year of Hitchcock:
52 Weeks with the Master of Suspense. Scarecrow
Press, 2009, (ISBN 978-0-8108-6388-0). A comprehensive lm-by-lm examination of Hitchcocks
artistic development from 1927 through 1976.
Modleski, Tania: The Women Who Knew Too Much:
Hitchcock And Feminist Theory. Routledge, 2005
(2nd edition). A collection of critical essays on
Hitchcock and his lms; argues that Hitchcocks
portrayal of women was ambivalent, rather than simply misogynist or sympathetic (as widely thought).
Mogg, Ken. The Alfred Hitchcock Story. Titan,
2008 (revised edition). Note: the original 1999 UK
edition, from Titan, and the 2008 re-issue worldwide, also from Titan, have signicantly more text
than the 1999 abridged US edition from Taylor Publishing. New material on all the lms.
Moral, Tony Lee. Hitchcock and the Making
of Marnie, Scarecrow Press, 2013 (Revised Edition), 340 p. (ISBN 978-0-8108-9107-4). Wellresearched book on the making of Hitchcocks
Marnie.
Paglia, Camille. The Birds. British Film Institute,
January 2008 ISBN 978-0-85170-651-1
Poague, Leland and Thomas Leitch: A Companion
to Alfred Hitchcock. Wiley-Blackwell, 2011. Collection of original essays by leading scholars examining all facets of Hitchcocks inuence
Rebello, Stephen: Alfred Hitchcock and the Making of Psycho. St. Martins, 1990. Intimately researched and detailed history of the making of Psycho,.
Rohmer, Eric; Chabrol, Claude. Hitchcock, the rst
forty-four lms (ISBN 978-0-8044-2743-2). F. Ungar, 1979. First book-long study of Hitchock art and
probably still the best one.
Rothman, William. The Murderous Gaze. Harvard Press, 1980. Auteur study that looks at several
Hitchcock lms intimately.
San Juan, Eric; McDevitt, Jim: Hitchcocks Villains:
Murderers, Maniacs, and Mother Issues. Scarecrow
Press, 2013, (ISBN 978-0-8108-8775-6). An indepth analysis of the villains who were critically important to Hitchcocks lms and were often emblematic of Hitchcock himself.
Spoto, Donald: The Art of Alfred Hitchcock. Anchor
Books, 1992. The rst detailed critical survey of
Hitchcocks work by an American.
Spoto, Donald: The Dark Side of Genius. Ballantine
Books, 1983. A biography of Hitchcock, featuring a
controversial exploration of Hitchcocks psychology.
19
Sullivan, Jack: Hitchcocks Music. Yale University
Press, 2006. The rst book to fully explore the role
music played in the Hitchcocks lms. ISBN 0-30011050-2
Truaut, Franois (1984) [1967]. Hitchcock by
Truaut: A Denitive Study of Alfred Hitchcock.
Simon and Schuster/Touchstone Book. OCLC
10913283. A series of interviews of Hitchcock by
the inuential French director.
Vest, James: Hitchcock and France: The Forging of
an Auteur. Praeger Publishers, 2003. A study of
Hitchcocks interest in French culture and the manner by which French critics, such as Truaut, came
to regard him in such high esteem.
Weibel, Adrian: Spannung bei Hitchcock. Zur Funktionsweise der auktorialen Suspense. (ISBN 9783-8260-3681-1) Wrzburg: Knigshausen & Neumann, 2008
Wikstrom, Patrik & Grams, Martin, Jr.: The Alfred
Hitchcock Presents Companion. OTR Pub, 2001,
(Paperback: ISBN 978-0-9703310-1-4)
Wood, Robin:
Hitchcocks Films Revisited.
Columbia University Press, 2002 (2nd edition).
A much-cited collection of critical essays, now
supplemented and annotated in this second edition
with additional insights and changes that time and
personal experience have brought to the author
(including his own coming-out as a gay man).
Youngkin, Stephen D. (2005). The Lost One: A Life
of Peter Lorre. University Press of Kentucky. ISBN
978-0-8131-2360-8. Contains interviews with Alfred Hitchcock and a discussion of the making of
The Man Who Knew Too Much (1934) and Secret
Agent (1936), which co-starred classic lm actor
Peter Lorre.
iek, Slavoj: Everything You Always Wanted to
Know About Lacan ... But Were Afraid to Ask Hitchcock, London: Verso, 1993
19
External links
20
20
20
20.1
20.2
Images
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CandyMountainLover, Jtomlin1uk, Wysprgr2005, Bleuminuit, Licinio, Jumacdon, VQuakr, Mild Bill Hiccup, TheOldJacobite, Ted19,
Scotwriter, Tsvb911, Bob bobato, Eversman, Cirt, Peter.Kinsella, AlexanderHaas, Luke4545, DragonBot, Excirial, Music2611, BATTISFORD, Alexbot, Jusdafax, M4gnum0n, Asmaybe, Yemal, Winston365, Muhandes, Vivio Testarossa, Khillerup, Rimblud, Cenarium,
Derbyadhag, Cescoby, Razorame, Deoli1, Redthoreau, Nihalbhakta, Jchhello, 6afraidof7, Dolphineclipse, Light show, Jbbaldwin, Slee04,
Thingg, Bassman8904, Aitias, Rahaeli, Respectthevette, AC+79 3888, Ubardak, BobJones77, Mikomaid, Workurban, Iamaleopard, Miami33139, DumZiBoT, Pontdece, Skunkboy74, Bobdaman123123, XLinkBot, Prism10, Rror, A bright cold day in april, Kasper2006,
Jd027, Grammarian10, RobinDagos, Meaghann696, Kbdankbot, Renee-db, Addbot, Tsantilas, Peterroane, AVand, Some jerk on the Internet, Josephskills, Ronny corral, Boozerc2007, Landon1980, Captain-tucker, Smetanahue, Katesizzlefosho, Nora nettlerash, Rbbloom,
Cooksi, CanadianLinuxUser, Fluernutter, Douglas the Comeback Kid, Download, Smuckers, Mr Hall of England, CarsracBot, CripplerCriss, Chzz, Favonian, Polancox, LinkFA-Bot, JGKlein, West.andrew.g, Stevewaclo, Robmh5, William (The Bill) Blackstone, Americanfreedom, Lineface, Setanta747, Tassedethe, Loser4132, Numbo3-bot, Baranger, Tide rolls, Lightbot, Teles, Gail, Zorrobot, AussieLegend2,
Supayishnessss, Contributor777, Whitemiller, Orville Wright, Luckas-bot, Yobot, Themfromspace, Ptbotgourou, Fraggle81, Legobot II,
Rsquire3, Kevinbrogers, IW.HG, Wackyhahaha, Kookyunii, Radiopathy, Woody261, Bruno A, ZapThunderstrike, AnomieBOT, Comic
Book Runner, Aerosmithfan2012, Pokeronskis, Rubinbot, 1exec1, Snowy9111, Jim1138, Kingpin13, Darolew, Ulric1313, Pngpearson,
Materialscientist, Citation bot, E2eamon, ..24, Pickypaddy1999, Quebec99, Xqbot, JimVC3, Capricorn42, Boongie, Yobi45,
Nasnema, Ojojojojojo, Palisadegator, DSisyphBot, Jburlinson, Julia-The-Little-Lady, Carreidas, GrouchoBot, Guagd, Tvhaha, Omnipaedista, Bschwendimann, GorgeCustersSabre, RibotBOT, Cresix, Sayerslle, GhalyBot, Expectancy, Richard BB, Eugene-elgato, WebCiteBOT, Jcjcjc123, Ddawkins73, Cgersten, Captain-n00dle, Hillsbro, Whetstone8, Lionelt, FrescoBot, LucienBOT, KerryO77, L-morrow028, Hollywoodnow, Nickdiesel, Popedad, AstaBOTh15, Mikejhonson, Pinethicket, Wamstora, Jimmcdevitt, Sam lock, Bracelet678,
LittleWink, Tinton5, Skyerise, Kingharris, BRUTE, Quindie, ScottMHoward, Cmguy777, VenomousConcept, Foobarnix, Beao, Shanmugamp7, White Shadows, Aardvarkzz, Filmmaven, Keri, Elekhh, Chachap, TobeBot, Tabletalker, BaldBoris, EdFalzer, Michael Jones
jnr, Anthony Winward, 777sms, Theo10011, Ktlynch, Oberontch, Schwede66, Venomviper, WiseNinja1, Mohayeji, Guerillero, Shelleyk3425, Hobbes Goodyear, RjwilmsiBot, Ca77, Jomsr, Acsian88, Peppermint Chills, Wikislemur, NerdyScienceDude, Slon02, Prettywildcrowd, DASHBot, Steve03Mills, EmausBot, John of Reading, Qdiderot, GoingBatty, Lindsaywinn, Yinzland, LaceySawyers, Torturella, Solarra, Tommy2010, AgRince, Piscator47, Anirudh Emani, Thecheesykid, Evanh2008, John Cline, Stellabystarlight, Checkingfax, NathanielTheBold, Petergoudie, Mike in Aus, Elektrik Shoos, 2sc945, A930913, H3llBot, LDHLondon, CastellanetaFan, Arnaugir, ,
Rostz, FrankieS17, Mayur, Tr na ng 1982, MonoAV, Donner60, BBrad31, LisaSandford, Polisher of Cobwebs, Samlouis, Josene2010,
Rangoon11, Cccasper123, ChuispastonBot, Lara Bailey, BrotherCraig, Talory, Rusted AutoParts, Lleblond, Petrb, Uzerakount, ClueBot
NG, Haywiki, Bped1985, JiltoMiles, EnglishTea4me, Cntras, Oceaneale, Ponshivam, AlMicero, ScottSteiner, Loony34, WikiPuppies,
SnakeRambo, Goodar nandos, Goodar hack, JASON1234, Kummerspeck, Darcyg196, BritishMeridian, Julien68, Goodar rub, AsianFLS, VonteDesmond, Calidum, Gothiclm, Pennsylvania56, Lifemaestro, BG19bot, Twittykins, Upsmiler, Hans100, Bajskorvn, Nisse
122, Momo96, Blake Burba, Northamerica1000, Kevinsmellmyfart, RandomLettersForName, Rudi argento, MusikAnimal, Johny Stabler,
Richard Tester, Mark Arsten, Gautham5678, Loeba, Rmsmauretania, CitationCleanerBot, Dixie1986, Toccata quarta, Saxbrack, Robyn42,
J R Gainey, Epicurus B., Arthur27, Achowat, ArchieCrane, Wannabemodel, Winstin101, Stormcloak, MrAnon123, Samein50, Brayness,
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rnel, Bedfordfallstown, JJ 65, Mitchell NZ, Tow, Farfelpop, Dexbot, Ophuls20393, Nick Fisher, Mogism, Bellboy905, Hal Mangen, Anime
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Susan23, Kaymer02, Allthestrongbowintheworld, Abyssopelagic, Whatasurprise, Alainfrenchguy, Zach Hopkins 87, Alxdav1890, Aus
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and Anonymous: 1481
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