Features essays from some fifteen authors written about Hitchcock and five of his most significant films: Rear window, Vertigo, The man who knew too much, Rope, and The trouble with Harry.
Softly. Hitchcock was known for being more concerned with directinghis audience than his actors,44 and this extends to Shadow's agendaof killing innocence. ItisUncle Charlie's chilling speeches, first beforethe family atthe Newton's ...
Stam , Robert , ' Hitchcock and Buñuel : Authority , Desire , and the Absurd , in Raubicheck and Srebnick ( eds ) , Hitchcock's Rereleased Films , pp . 116–46 . Sterritt , David , ' Alfred Hitchcock : Registrar of Births and Deaths ...
Alfred Hitchcock's American films are not only among the most admired works in world cinema, they also offer some of our most acute responses to the changing shape of American society in the 1940s, 50s, and 60s.
In Alfred Hitchcock's Rear Window, ed. John Belton. Cambridge: Cambridge University Press, 2000. Mazzella, Anthony J. “Author, Auteur: Reading Rear Window from Woolrich to Hitchcock.” In Hitchcock's Rereleased Films, ed.
François Truffaut, Hitchcock, rev. ed. (New York: Simon & Schuster, 1984), 347, notes “the Hitchcockian image par excellence is that of an innocent man who is mistaken for another man who is being hunted.
6; Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (Chichester, 2003), p. 206. ... to the waiting press: 'My good friends, this is the second time there has come back from Germany to Downing Street peace with honour.
In assigning Rebecca to Hitchcock, Selznick made a point of insisting that the director remain faithful to the du Maurier novel—a requirement that rankled. Hitchcock had adapted a du Maurier work before (Jamaica Inn) and would again ...
Stam, Robert. 1991. “Hitchcock and Buñuel: Authority, Desire and the Absurd.” In Hitchcock's Re-released Films: From Rope to Vertigo, edited by Walter Raubicheck and Walter Srebnick. Detroit: Wayne State University Press. Stam, Robert.
Alfred Hitchcock's Rear Window (Cambridge: Cambridge University Press, 2000), p. 10. John Belton notes ('Introduction: spectacle and narrative', p. 13) that this final shot was cut from the film when it was re-released in the 1980s, ...
In A companion to Alfred Hitchcock, eds. T. Leitch and L. Poague, 48–66. Hoboken: Wiley-Blackwell. Bauso, Thomas M. 1991. Rope: Hitchcock's unkindest cut. In Hitchcock's rereleased films: From rope to vertigo, eds.