University of Illinois Press

University Film & Video Association

The Dance of Suspense:
Sound and Silence in North by Northwest
Author(s): DEBRA DANIEL-RICHARD
Source: Journal of Film and Video, Vol. 62, No. 3 (FALL 2010), pp. 53-60
Published by: University of Illinois Press on behalf of the University Film & Video Association
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The Dance of Suspense:

Sound and Silence in North by Northwest
debra daniel-richard

alfred hitchcock has been frequently

commended by critics for the purposeful, intuitive, and effective use of music in his films.
Recently, significant attention has been given
to his use of music as an integral component of
films narrative structure. This renewed focus
is due, in large part, to the popular and critical
success of Jack Sullivans Hitchcocks Music
(2006), a book focusing solely on this aspect of
the directors considerable artistry. Further illumination and explication of the contributions
made by composer Bernard Herrmann to one
of Hitchcocks most critically acclaimed films,
North by Northwest, will encourage additional
consideration of the subtle and intricate role of
music in film.
In an interview with Steven Watts early in
his career, Hitchcock expressed his intrigue
with the possibilities of using music in ways
that were more subtle and persuasive than the
few uses traditionally assigned to musicfor
example, numbers in film musicals or the
slow, sappy music used for love scenes (242).
He recognized the psychological potential of
music to reveal a characters true feelings when
words were not enough, to establish a mood
or ambiance for a scene, to anticipate events,
and to increase excitement. This appreciation
for and emphasis on film music was, ironically,
debra daniel-richard is an associate professor
at Dallas Baptist University, where she teaches
arts appreciation classes. With degrees in music
education and library science, she is currently
pursuing a PhD in aesthetic studies at the University of Texas-Dallas.

an outgrowth of his experiences with silent

filmmaking. He explained to Watts, One of the
greatest emotional factors in the silent cinema
was the musical accompaniment (242).
His appreciation for the power of music
compelled Hitchcock to employ well-known,
serious composers to create the scores for his
pictures, especially after his arrival in America
in 1940. Unlike most film directors, Hitchcock
was known to work closely with his composers,
often providing them with detailed, sometimes witty music notes before the scoring
even began (Sullivan xvi). The director also
made a practice of consulting with his composers during filming and made specific suggestions, providing close direction, during the
actual scoring process. Hitchcock sometimes
insisted on certain sounds or types of music
for his scores, but he was willing to entertain
suggestions from his composersin the case
of Psycho (1960), famously acceding to Bernard
Herrmanns insistence on scoring the showermurder scene, which the director had originally
intended to be silent.
Hitchcock was interested in incorporating upto-date popular music, when appropriate. He
eschewed the stuffy, culturally snobbish attitude held by some filmmakers and studios that
all film music must be composed for and performed by an orchestra. Also unlike his contemporaries, he expressed his belief in the power
of silence and indicated that the presence of
music could be used to maximize the power
of silence. Silence is often very effective, he
told Watts in 1933, and its effect is heightened
by the proper handling of the music before

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53

and after (242). These conceptsthe primary

importance of incorporating scores by contemporary art-music composers as well as the judicious use of popular music and silenceinform
the music of North by Northwest (1959), one of
Hitchcocks greatest comedy-thrillers.
North by Northwest was Hitchcocks fourth
and final project with Cary Grant, and it
emerged as Hitchcocks grand summation of
every wrong man thriller (Smith 226). The
film was nominated for five Academy Awards
but did not win in any of its categories. The
score was composed by Bernard Herrmann,
who collaborated with Hitchcock on a total of
eight films; North by Northwest was the fifth
Hitchcock-Herrmann project. According to Jack
Sullivan, the composer and director were both
at the top of their game at the outset of this
endeavor (235). The score wasnt Herrmanns
only contribution to this particular film, however. During one of their previous collaborations, Herrmann had introduced Hitchcock to
his friend Ernest Lehman, a screenwriter whose
previous successes included Sabrina (Billy
Wilder, 1954) and The King and I (Walter Lang,
1956). Within a year, Hitchcock had negotiated
with the studio to get Lehman assigned to his
next project, and their partnership resulted in
the screenplay for North by Northwest.
Herrmanns portentous introduction to film
composition was the creation of the score
for Orson Welless masterpiece, Citizen Kane
(1941). He also worked with Welles on The Magnificent Ambersons (1942) and became well
known in Hollywood circles as an inventive and
unique composer. Master of a quintessentially
American musical idiom, Herrmann rejected
the lush Hollywood sound of the 30s in favor
of a simple yet unmistakably contemporary
style based on slowly shifting, ambiguously
tonal harmonies and an orchestral palette
remarkable for its range of instrumental color
(Teachout 54). However, it was Herrmanns
partnership with Hitchcock that resulted in the
greatest critical and commercial successes
in each of their respective careers. Steven C.
Smith characterizes the results of this partnership as masterpieces of director-composer
54

teamwork, perhaps the greatest such relationship in film (191). Unfortunately, Herrmanns
final partnership with Hitchcock ended with a
disagreement over the type of music to use in
Torn Curtain (1966). Hitchcock wanted music
that was jazz- and pop-inflected and was under
pressure from the movie studio to employ a
different composer who could incorporate into
the score a song with the potential to become a
profitable hit record. Previously, Hitchcock and
Herrmann had succeeded in doing this with
1956s The Man Who Knew Too Much.1 According to Hitchcock biographer John Russell Taylor,
the director insisted on keeping Herrmann on
board but attempted to coerce the composer
into meeting the studios demands. Instead,
Herrmann rebelled by creating an outrageous,
but quite effective, orchestration utilizing
twelve flutes and a stringless wind symphony
configuration (Brown, Herrmann 44). Hitchcock was furious, and the studio hired John
Addison to compose a new score. Herrmann
and Hitchcock never worked together again,
and Herrmann remained bitterly angry toward
Hitchcock for the rest of his life.
Herrmanns opening music for North by
Northwest was written in the style, as the
composer himself put it, of a kaleidoscopic
orchestral fandango (Smith 227).2 A traditional
Spanish dance seems an odd choice for a film
that opens in New York, proceeds across the
American Midwest to the Rockies, and features
urbane, civilized characters involved in sometimes unsavory behavior. The rollicking South
American rhythms of this fierce dance style are
tempered by Herrmanns characteristic employment of unusual modal and minor harmonies
and extreme chromaticism. The main theme of
the title music (which is later repeated, almost
verbatim, as the music of the downhill driving sequence and appears again in the chase
scene atop Mount Rushmore) bears a strong
resemblance, both harmonically and melodically, to the introduction of the gypsies chorus
in Verdis Il Trovatore, and in fact is written in
the same key. This may not be surprising, given
that Herrmann has often been described as a
neo-Romanticist. However, the ultimate tonality
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of Herrmanns fandango is strictly twentiethcentury American and relies heavily on the

constant interplay of major and minor triads.
As Royal S. Brown points out, the restlessly
chromatic and fragmented nature of the title
music suggests an imbalance that is subconsciously felt by the viewer, establishing an aural
precedent for the irrational chaos yet to come
(Brown, Herrmann 29).
The choice of a fandango, though unusual,
is actually oddly appropriate. A fandango is
primarily a flamenco-style dance with Spanish origins in which male and female dancers
circle each other warily in a show of competition and courtship. As the dancers entice and
seduce each other, they also challenge each
other with the fluency of their footwork. Perhaps Herrmann chose this traditional dance as
a prescient metaphor for the relationship that
develops between Cary Grants Roger Thornhill
and his love interest, Eve Kendall, played by
Eva Marie Saint. As their relationship progresses, each character is not quite honest with
the other, and each in turn displays moments
of bravura performance in outwitting his or her
enemies. They too circle each other, both figuratively and, in the sleeper car scene, literally,
and in the end their courtship is consummated
in the socially acceptable coupling of marriage.
In addition, the rhythmic sounds of the
fandango and other Spanish dances were espe-

cially popular in 1950s America as a byproduct

of the widespread cultural fascination with
South American art, music, and style. Murray
Pomerance notes that the unnamed play Roger
Thornhill plans to see at the Winter Garden
Theater on the night of his abduction could
only have been Leonard Bernsteins West Side
Story,3 which features South American rhythms
and a 6/8 fandango in the America production number (51). Furthermore, Herrmann had
recently investigated Latin American styles in
his collaboration with Hitchcock on Vertigo
(1958), especially in relation to Carlottas
habanera-flavored theme music. Together,
these circumstances make Herrmanns choice
of a fandango-styled theme seem much less
idiosyncratic and perhaps more commercially
driven than has been previously assumed.
As in other Hitchcock-Herrmann projects,
the title cue sets the musical palette from
whose range of orchestral colors the whole film
will be painted. This practice reflects the film
industrys continued reliance on the conventions of live theater, especially opera, in which
the overture was used to establish mood and
direct the audiences expectations. Hitchcock
and Herrmann shared an appreciation of opera:
Herrmann frequently named Wagner as his
favorite composer, and Hitchcock once rather
self-consciously compared his dramatic films to
opera (Watts 244). The title theme opens with

Photo 1: Cary Grant runs

for his life in Hitchcocks
North by Northwest
(1959).

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55

the roar of the MGM lion, melding seamlessly

into a menacing rumble from the tympani and
a repeated three-note motif that shifts slowly
up and down by a half-step, played by bass
clarinets and strings. This ominous opening
is followed by the main fandango theme, with
the melody alternating from shrill flutes and
violins to harsh lower brasses. According to
Smith, Herrmann bandies instrumental voices
back and forth in a breathless evocation of
the shifting identities and circumstances that
will be faced by Cary Grants character (227).
The fandangos 6/8 time signature allows the
accents or stressed beats of the music to slip
from duple-triple to triple-duple, a unique
advantage of the 6/8 meter. Rhythms in 6/8
can be grouped in one of two ways: either two
groups of three eighth-notes or three groups of
two eighth-notesthat is, 123 456 or 12 34 56.
In Herrmanns fandango, these two patterns
alternate relentlessly. This shift in stress gives
the music an unstable, urgent feeling, as if the
music is rushing headlong into trouble, uncontrolled and dangerous. The addition of dotted
rhythms imparts a hesitant, stumbling sensation that exacerbates the innate instability of
this musical form.
By contrasting higher and lower voices in the
orchestration, Herrmann reinforces the visual
motif of verticality that is established during
the title credits and continues throughout the
film. The opening music begins with a low, rumbling tympanic roll, followed by throbbing low
strings and bassoons. Violins and high winds
enter nervously, proclaiming the rhythmically
unstable and tonally dissonant main melody.
Visually, verticality is announced during the
opening credits by the use of a grid work of vertical lines intersecting with diagonal lines slanting upward to the right, suggesting a vanishing
perspective. The grid work is later revealed,
through a dissolve to a graphic match, as the
window outlines on the glass-and-steel C.I.T.
Financial Building, the skyscraper from which
Grants protagonist, Roger Thornhill, emerges at
the beginning of the film (Pomerance 43). The
music in this section, and throughout most of
the film, makes use of brief melodic snippets
56

that alternate between contrasting bodies of

instrumentslow versus high, brass versus
stringsreinforcing the unstable and transitory
nature of the films emotional soundscape.
Many other instances of verticality inform
this film, from a comic yet frightening downhill
chase scene to multiple elevators to a dizzying, high-angle camera shot taken from the
top of the United Nations building; from subtle
contrasts between characters who stand to
dominate and the others whom they force to sit
in order to subdue them; from the upper berth
of the sleeping car to the upper floor of Vandamms home to the final, harrowing sequence
on Mount Rushmore.4 Herrmanns music supports this underlying theme by emphasizing
high to low contrasts, sliding string glissandos,
and pulsating octave jumps. These elements
are first displayed in the opening theme music,
subliminally establishing expectations for the
listeners/viewers, and then are further developed in later sequences and cues.
For example, when Roger is mistakenly kidnapped by Vandamms henchmen, the threat
to the protagonist is announced musically via
harsh, ominous descending chords played on
muted trumpets. This three-note descending
pattern, first heard in the opening fandango, is
echoed by low strings as the limousine carries
Roger out of town. When the car arrives at the
lush suburban Townsend residence, strings
take up the descending pattern, with each
downward motion starting on a different note,
seeming to wander aimlessly through the tonal
landscape, punctuated with staccato bursts
from the muted brass section. The sonic result
is a feeling of confusion, bewilderment, and
mild threat. The orchestra is silent while Roger
is led into and locked inside the library, but
once he is alone, the music returns with sighing
strings, conveying the heros resignation to the
command that he must wait. When Vandamm,
the villain of the piece, enters, the orchestra is
silenced during the ensuing verbal sparring and
returns only when Vandamms henchmen embark on their scheme to forcibly inebriate Roger
as part of their plot to kill him. After signaling
for his subordinates to hold down their victim,
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Vandamms secretary Leonard pours a large

glass of whiskey in front of Rogers face and
then sardonically exclaims, Cheers! At that
moment, the orchestra returns with low strings
punching out the downhill motif while the violins execute a fearful tremolo.
Hitchcock and Herrmann subtly control
the presence of music throughout the film. In
scene after scene, the music fades away to
give preference to conversation, but when the
dialogue ends, the music returns faithfully to
lend support and meaning to the action taking
place. When music does coexist with dialogue,
the music takes a back seat, providing subconscious emotional context for the words being
spoken while remaining virtually unnoticeable.
Herrmanns characteristic short blocks of
sound, clipped phrases, and repeated ostinati
are relieved in the middle section of the film
by the sensuous, yearning melody of the love
theme. However, the love theme, which Herr
mann titled Conversation Piece, does not
immediately enter upon the couples introduction. When Roger and Eve first meet, no music
is present as they dodge each other in a clumsy
sort of dance in the trains narrow passageway.
At their second encounter, negligible and innocuous source music (Andr Previns Fashion
Show) supplies the dining cars bourgeois
ambiance until Eve makes her seductive purposes clear to Roger. When she asks, Do you
know what I mean? the background music
undergoes a subtle transformation, from almost
inaudible but diegetic Muzak to non-diegetic,
yet meaning-laden, orchestration. An oboe and
clarinet duet soars over softly pulsing strings
that represent the inexorable forward motion
of the train (Smith 227). In stark contrast to the
rest of the films sonic landscape, this theme
features long, sinuous phrases that promise
stability and respite from the anxious, chaotic
music that has gone before, in much the same
way that Eves interest in and protection of
Roger impart a sense of hope and peace to a
plot that, until this meeting, has been marked
by confusion, frustration, and the loneliness
of mistrust and disbelief. Although not significantly louder than the music that precedes

it, this themes delicate interaction with the

sounds of the tracks and the trains whistle,
as well as its insistent romanticism and tonal
relatedness to the rest of the score, marks the
music as worthy of attention, if only subconsciously. This in turn cues the viewer to realize
that something of significance is about to take
place. The love theme returns, this time in full
bloom, during the sleeper-car scene, where the
tune is picked up by the violin section, adding a
richer texture and more traditional tone color to
its descending melodic line. Starting on a high
pitch and descending step-wise toward the
themes tonic center, this melody once again
emphasizes the vertical aspect motif. Similarly,
the lovemaking between Roger and Eve takes
place while they stand in the close quarters of
the sleeping car, shot from overhead to maximize the claustrophobic dimensions of the
space. As the scene ends, however, the music
signals more than simple physical or emotional
attraction. The lovers embrace one last time
before the camera cuts away, and we see Eves
face nestled into Rogers shoulder. Before the
fade-out, she opens her eyes and looks away
from him, down and to her left. Without a
sonic cue, this look could mean several things:
perhaps she fears that the affair wont last, or
perhaps she is recalling another lover from her
past. But the love theme resolves in a minor
key, in a false cadence that leaves the melodic
line unfinished. Additionally, the final chord
receives a punch from the lower strings, giving
it an ominous feeling. Therefore, the viewer is
cued to suspect a hidden agenda on Eves part,
and this suspicion is confirmed moments later
when Vandamm is shown receiving a note from
Eve, indicating for the first time her connection
with his sinister purposes.
In this instance, as in many other moments
in Herrmanns score, the music serves a purpose described by Nol and Patrick Carroll as
modifying music, by adding an emotive
significance to the visual elements of the film
(78). According to these authors,
[M]usic is a particularly privileged means
of direct, expressive augmentation ... the

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57

music saturates the scene expressively ...

[M]odifying music ... assures that the untutored spectators of the mass movie audience
will have access to the desired expressive
quality and, in turn, will see the given scene
or sequence under its aegis ... The filling-in
function of the music modifier keeps the expressive quality of the scene constantly foregrounded, thereby supplying a continuous
channel of information about the emotional
significance of the action. (8081)

Therefore, the Conversation Piece music

supplied by Herrmann can be seen as a means
of conferring emotional impact to the love
scene it modifies. What starts out as a seductive flirtation, accompanied by oboe and clarinet, later evolves into an authentic romantic
attachment, supported by strings and full orchestral involvement. The sincerity of this emotive content is then undermined by the final
chord, leaving the viewer suddenly uneasy and
apprehensive.
Although the film is fully and originally scored
by Herrmann, several instances of popular
source music make brief appearances. The first
of these is the oft-mentioned music wafting
through the Plaza Hotel lobby as Roger innocently makes his way to the Oak Bar. An apparently diegetic, but offscreen, string quartet plays
Adamson and McHughs Its a Most Unusual
Daythe kind of musical irony endemic to
Hitchcock by now (Sullivan 237). Many critics
have commented on that particular musical
joke, but no one seems to have paid attention to
Rogers second entrance in the Plaza, this time
accompanied by his mother. This scene takes
place the day after Rogers harrowing kidnap
and escape, and while he tries to locate the
elusive (but nonexistent) Kaplan, we hear the
same quartet play Cole Porters In the Still of
the Night. Is this yet another musical joke, wryly
commenting on the nocturnal events that led to
Rogers current predicament? The background
music heard in the dining car of the 20th Century
Limited has already been discussed in its function as precursor to the love theme.
Roger himself is the source of two additional

58

bits of source music. The first occurs when

Vandamms henchmen, having forced Roger
to drink dangerous amounts of alcohol, place
the protagonist in the drivers seat of a stolen
convertible. The obviously inebriated Roger
sings a snatch of the Lerner and Loewe tune
Ive Grown Accustomed to Her Face. However,
in his drunken stupor, the words of the first
phrase come out as Ive grown accustomed to
your fluh-buh. Pomerance suggests that this
moment was included to indicate an important,
but perhaps overlooked, element of Rogers
character: although he may buy expensive
chocolates and indulge in unnecessary taxi
rides, although his clothes fit beautifully and
exhibit exquisite style, Roger Thornhill is a man
of middle-class tastesa man like you and me
and therefore worthy of our sympathy (51).
The final example of source music supplied
by Roger seems to bear out this assumption.
The moment occurs during the Chicago leg
of the films journey, when Roger appears
unexpectedly at Eves hotel room after his
crop duster escapade. While his suit is being
treated by the valet, Roger pretends to take a
shower, whistling the easily recognizable tune
of Alan Freeds Singin in the Rain. The 1952
film based on this song had already achieved
iconic status throughout America, and the song
itself had enjoyed a long popularity prior to its
appropriation by that film. Rogers use of the
tune to convey his apparently carefree attitude
seems exactly the sort of everyman activity
that adds humanity to the character and allows
the audience to identify with him, in spite of his
elegance and charm. The connection between
a person singing in the shower and one singing
in the rain makes this particular tune an obvious, yet amusing choice.
Finally, one cannot comment on the music
of North by Northwest without a discussion
of its most significant absence, which occurs
during the crop duster scene. The lack of musical accompaniment was all the more startling
because of the common Hollywood practice
of the time; as Stephen Handzo puts it, the
wall-to-wall score was the norm (52). When

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Grants Roger Thornhill descends from a bus to

the empty highway and desolate landscape of
Prairie Stop/Highway 41, a locale intended to
represent Indiana farmland (although the actual
location was near Bakersfield, California), the
absolute silence of the moment is deafening.
The emptiness of the soundtrack reflects the
emptiness of the scenery, as the camera cuts
between midrange shots of Roger and point-ofview long shots of the surrounding flat countryside. When another man appears across the
road from Roger, their mutually awkward silence
imparts an uneasy awkwardness to the viewer
as well. Even in the pacing of the conversation
that follows once Roger has crossed the highway, the uncomfortable pauses and the mans
brief replies enhance the almost overwhelming
silence of the scene. Once the unnamed man
has boarded his bus and departed, the intense
silence returns. There is no wind, no squawking birds or animals, nothing to alleviate the
oppressive lack of sound, nothing to lighten
the crushing sense of menace. Nothing, that is,
until the distant whine of the crop duster invades our heightened senses. For the next three
minutes, the music of the approaching and
receding biplane engine supplies its own aural
accompaniment, a symphony that ends with
the blaring horn and screeching brakes of the
truck Roger has flagged down to rescue him. The
plane, unable to avoid collision with the unexpectedly stilled truck, explodes upon impact,
initiating the return of musical accompaniment
as Herrmanns score reasserts its emotive role.
According to Sullivan,
No music is needed here. The bleak spaces
of the long crop-duster scene are emphasized through a silence all the more eerie
and shocking because the score throughout the film is otherwise so omnipresent.
Music is provided by cars roaring across
the screen through empty space with startling stereophonic realism and by the terrifying buzz of the deadly airplane. (240)

French film director Franois Truffaut greatly

admired this scene for its silent musicality, not-

ing that in Hitchcock, every moment was musical, even silence; a rest could be as significant
as a note (Sullivan 241).
Herrmanns collaboration with Hitchcock
contributed greatly to the artistic and commercial success of North by Northwest. Although
the music created for this film has not received
the intense critical scrutiny enjoyed by Vertigo
and Psycho, it nonetheless possesses the
sonic qualities and emotional dimensions that
elevate the music and the film to the level of
masterpiece. Herrmanns ambiguous tonal palette and unresolved chordal structures enhance
the suspense of the narrative while exerting
a measure of control over the comedic elements inherent in many of the storys scenes
(Brown, Film Music 63). Although Hitchcocks
genius for visual storytelling has left a legacy
of brilliant films, his skill and finesse in utilizing music to maximize a narratives emotional
impact cannot be underestimated. As Jack
Sullivan, Hitchcocks musical champion, has
asserted, Like the camera, music allowed
Hitchcock, who distrusted language, to convey
a meaning beyond words (174). Whether its
a fiery fandango, a lyrical love theme, or the
deafening silence of empty space, the music of
North by Northwest imparts an enduring emotional resonance to this classic film.

notes
1.In The Man Who Knew Too Much, Doris Day sang
Que Sera, Sera (Whatever Will Be, Will Be), which
became a hit record on its own, rising to number two
on the Billboard charts and winning the Academy
Award for Best Original Song in 1956. Herrmann can
be seen in this film as the conductor of the orchestra
in the Albert Hall scene. It is ironic, however, that the
work Herrmann conducts is not one of his ownthe
orchestra is playing the Storm Cloud Cantata, written by Arthur Benjamin and D. B. Wyndham-Lewis.
2.Smith is actually quoting the composers own
description, from Herrmanns notes on his 1968
Decca album Music from the Great Movie Thrillers.
3.West Side Story opened at the Winter Garden
Theater on 26 September 1957 and ran for 732 performances, closing in June 1959.
4.For an excellent and comprehensive examination
of visual and psychological themes present in North
by Northwest, see the chapter titled A Great Fall:

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59

Action North by Sincerity Northwest in Murray Pomerances An Eye for Hitchcock.

references
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the Ugly. Cineaste 21.1/2 (1995): 6267. Academic
Search Complete. Web. 14 Mar. 2008.
. Herrmann, Hitchcock, and the Music of the
Irrational. Cinema Journal 21.2 (1982): 1449.
JSTOR. Web. 3 Jan. 2009.
Carroll, Nol, and Patrick Carroll. Notes on Movie
Music. Studies in the Literary Imagination 19.1
(1986): 7381. Academic Search Complete. Web. 2
Mar. 2008.
Handzo, Stephen. The Golden Age of Film Music.
Cineaste 21.1/2 (1995): 4655. Academic Search
Complete. Web. 21 Feb. 2008.

60

North by Northwest. Dir. Alfred Hitchcock. Perf. Cary

Grant, Eva Marie Saint, and James Mason. DVD.
Time-Warner, 2000.
Pomerance, Murray. An Eye for Hitchcock. New Brunswick, NJ: Rutgers UP, 2004. NetLibrary. Web. 29
Nov. 2007.
Smith, Steven C. A Heart at Fires Center: The Life and
Music of Bernard Herrmann. Berkeley: U of California P, 1991. NetLibrary. Web. 13 Dec. 2007.
Sullivan, Jack. Hitchcocks Music. New Haven, CT: Yale
UP, 2006. Print.
Teachout, Terry. I Heard It at the Movies. Commentary 102.5 (1996): 5356. Academic Search Complete. Web. 21 Feb. 2008.
Watts, Stephen. On Music in Films: An Interview with
Stephen Watts. Hitchcock on Hitchcock. Ed. Sidney
Gottlieb. Berkeley: U of California P, 1995. NetLibrary. Web. 23 Jan. 2008.

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