Download A Companion to Alfred Hitchcock by Thomas Leitch PDF

By Thomas Leitch

The main entire quantity ever released on Alfred Hitchcock, masking his occupation and legacy in addition to the wider cultural and highbrow contexts of his paintings.

  • Contains thirty chapters by way of the best 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 family members Plots: Hitchcock and Melodrama (pages 109–125): Richard R. Ness
Chapter 7 Conceptual Suspense in Hitchcock's movies (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 girl Collaborators (pages 162–180): Tania Modleski
Chapter 10 A floor Collaboration: Hitchcock and function (pages 181–197): Susan White
Chapter eleven Aesthetic area in Hitchcock (pages 199–218): Brigitte Peucker
Chapter 12 Hitchcock and song (pages 219–236): Jack Sullivan
Chapter thirteen a few Hitchcockian photographs (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 talented 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 thing (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

Sample text

Gottlieb, Writings 27–50. Hitchcock, Alfred. ” Interview by Norah Baring. Film Pictorial 23 Nov. 1935. Gottlieb, Interviews 10–13. indd 26 2/5/2011 10:08:10 AM Hitchcock’s Lives 27 Hitchcock, Alfred. “Mr. ” Interview by Frank Nugent. New York Times 3 Nov. 1946. Gottlieb, Interviews 17–22. Hitchcock, Alfred. ” Film Weekly 2, 9, 16, 23, 30 May 1936: 16, 7, 28, 28, 27. Gottlieb, Writings 7–26. Hitchcock, Alfred. ” Sight and Sound 46 (Summer 1977): 174–75. Gottlieb, Writings 59–63. Hitchcock, Alfred.

Edited by Thomas Leitch and Leland Poague. © 2011 Thomas Leitch and Leland Poague. Published 2011 by Blackwell Publishing Ltd. indd 28 2/5/2011 10:08:03 AM Hitchcock’s Literary Sources 29 (1853), which Donald Spoto says “engraved itself on Hitchcock’s memory” (Dark 28). The novel’s ingredients – notably its interminable lawsuit but also its wintry setting and its several “ghost” references – show it to be an influence on The Wrong Man. That film gives one of Hitchcock’s most beautiful but ambivalent portraits of his perennial subject, the bourgeois family.

Ernest Lehman has said that Hitchcock, for his film’s crossroads scene, even thought of having Vandamm’s men whip up a Kansas-style tornado to kill Thornhill (quoted in Baer 70). ” Critic Danny Peary, who contends that Fleming’s film is finally, and reflexively, about Hollywood, explains that its story targets teenage girls who dream of running away from home to break into movies (474). indd 36 2/5/2011 10:08:04 AM Hitchcock’s Literary Sources 37 backward to another troubled young woman, Hitchcock’s “favorite character in fiction,” Emma Bovary (Spoto, Dark 42).

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