Download A Companion to Alfred Hitchcock by Thomas Leitch PDF

By Thomas Leitch

The main finished 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 means of the prime 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 relations 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 woman 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 track (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 United States: The Selznick?Era motion pictures (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 item (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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Example text

In the process of demythologizing such largerthan-life figures, Hitchcock succeeded in mythologizing himself as a giant-killer equally capable of launching the screen careers of Benita Hume, Ian Hunter, and Gordon Harker and of cutting stars like Donat and Carroll down to size. indd 22 2/5/2011 10:08:10 AM Hitchcock’s Lives 23 in the 16 November 1927 edition of the London Evening News: “When moving pictures are really artistic they will be created entirely by one man” (quoted in Spoto, Dark 103).

In both cases, Hitchcock may have remembered Buchan’s novel Mr. Standfast (1919), which cites Keats’s poem (Hannay 594). Buchan helped revivify the British picaresque. Besides Keats and Shakespeare, his favorite writers included Bunyan, Scott, Dickens, and Thackeray (Memory 32 and passim). In his own fiction, he drew on a variant genre of adventure stories that had emerged in late Victorian times and was associated by contemporary critics with the Highland novels Scott wrote between 1814 and 1831 (Bristow xii).

Indd 31 2/5/2011 10:08:03 AM 32 Ken Mogg Journalist Otis Guernsey in 1951 gave Hitchcock the germ for North by Northwest by remembering a wartime incident and asking: Why not make a thriller about a man mistaken for a fake undercover agent (Krohn 202–04; McGilligan 464)? Immediately interested, Hitchcock would have recalled precedents. Falselyimputed guilt had featured in his own work since his second film, The Mountain Eagle (1926), becoming ambiguous in his third, The Lodger (1926); its literary forebears included William Godwin’s novel Caleb Williams (1794), which Dickens once commended to Poe.

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