Read e-book online A Companion to Alfred Hitchcock PDF

By Thomas Leitch

ISBN-10: 1405185384

ISBN-13: 9781405185387

ISBN-10: 144439732X

ISBN-13: 9781444397321

The main accomplished quantity ever released on Alfred Hitchcock, overlaying his profession and legacy in addition to the wider cultural and highbrow contexts of his paintings.

  • Contains thirty chapters by way of the major Hitchcock students
  • Covers his lengthy profession, from his earliest contributions to different administrators’ silent movies to his final uncompleted final movie
  • Details the iconic legacy he left to filmmakers and audiences alike

Content:
Chapter 1 Hitchcock's Lives (pages 9–27): Thomas Leitch
Chapter 2 Hitchcock's Literary resources (pages 28–47): Ken Mogg
Chapter three Hitchcock and Early Filmmakers (pages 48–66): Charles Barr
Chapter four Hitchcock's Narrative Modernism: Ironies of Fictional Time (pages 67–85): Thomas Hemmeter
Chapter five Hitchcock and Romance (pages 87–108): Lesley Brill
Chapter 6 kin Plots: Hitchcock and Melodrama (pages 109–125): Richard R. Ness
Chapter 7 Conceptual Suspense in Hitchcock's motion pictures (pages 126–137): Paula Marantz Cohen
Chapter eight “Tell Me the tale So Far”: Hitchcock and His Writers (pages 139–161): Leland Poague
Chapter nine Suspicion: Collusion and Resistance within the paintings of Hitchcock's lady Collaborators (pages 162–180): Tania Modleski
Chapter 10 A floor Collaboration: Hitchcock and function (pages 181–197): Susan White
Chapter eleven Aesthetic house in Hitchcock (pages 199–218): Brigitte Peucker
Chapter 12 Hitchcock and song (pages 219–236): Jack Sullivan
Chapter thirteen a few Hitchcockian pictures (pages 237–252): Murray Pomerance
Chapter 14 Hitchcock's Silent Cinema (pages 253–269): Sidney Gottlieb
Chapter 15 Gaumont Hitchcock (pages 270–288): Tom Ryall
Chapter sixteen Hitchcock Discovers the US: The Selznick?Era movies (pages 289–308): Ina Rae Hark
Chapter 17 From Transatlantic to Warner Bros (pages 309–328): David Sterritt
Chapter 18 Hitchcock, Metteur?En?Scene: 1954–60 (pages 329–346): Joe McElhaney
Chapter 19 The common Hitchcock (pages 347–364): William Rothman
Chapter 20 French Hitchcock, 1945–55 (pages 365–386): James M. Vest
Chapter 21 misplaced in Translation? hearing the Hitchcock–Truffaut Interview (pages 387–404): Janet Bergstrom
Chapter 23 unintended Heroes and proficient Amateurs: Hitchcock and beliefs (pages 425–451): Toby Miller and Noel King
Chapter 24 Hitchcock and Feminist feedback: From Rebecca to Marnie (pages 452–472): Florence Jacobowitz
Chapter 25 Queer Hitchcock (pages 473–489): Alexander Doty
Chapter 26 Hitchcock and Philosophy (pages 491–507): Richard Gilmore
Chapter 27 Hitchcock's Ethics of Suspense: Psychoanalysis and the Devaluation of the article (pages 508–528): Todd McGowan
Chapter 28 events of Sin: The Forgotten Cigarette Lighter and different ethical injuries in Hitchcock (pages 529–552): George Toles
Chapter 29 Hitchcock and the Postmodern (pages 553–571): Angelo Restivo
Chapter 30 Hitchcock's Legacy (pages 572–591): Richard Allen

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Extra resources for A Companion to Alfred Hitchcock

Example text

It’s as if we were being given privileged interior information that transcends the space of its telling. Clearly this is more than a technical matter. The film will transcend space again when, like a ghost, the tracking camera penetrates Manny’s closed front door and follows him down his hallway. Time too will be transcended. After the Prologue, the film’s credits are superimposed over a sequence set in New York’s famous Stork Club, where Manny plays the double bass in a Latin band. But again matters aren’t straightforward.

In other words, once Hitchcock’s non-thrillers were discounted as apprentice work undertaken at the behest of others, the thrillers could be read as a single homogeneous master text for the purposes of both interpretation and biography. This is an odd assumption because it draws such a sharp distinction between early projects that are presumably impersonal in their diversity and later, more consistently commercial projects that are held to be more expressive of their creator. In treating Hitchcock as his movies’ only begetter, this autobiographical model overlooks, or at least downplays, the contributions of longtime collaborators like Eliot Stannard, Charles Bennett, Bernard Knowles, Jack Cox, Joan Harrison, Robert Boyle, Cary Grant, Ingrid Bergman, James Stewart, Grace Kelly, Robert Burks, George Tomasini, John Michael Hayes, and Bernard Herrmann.

Gottlieb, Writings 7–26. Hitchcock, Alfred. ” Sight and Sound 46 (Summer 1977): 174–75. Gottlieb, Writings 59–63. Hitchcock, Alfred. ” McCall’s Mar. 1956: 12. Gottlieb, Writings 51–53. Kapsis, Robert E. Hitchcock: The Making of a Reputation. Chicago: U of Chicago P, 1992. Krohn, Bill. Hitchcock at Work. London: Phaidon, 2000. Leff, Leonard J. Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. New York: Weidenfeld and Nicholson, 1987.

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A Companion to Alfred Hitchcock by Thomas Leitch


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