By Thomas Leitch
The main accomplished 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 via the prime Hitchcock students
- Covers his lengthy profession, from his earliest contributions to different administrators’ silent motion pictures to his final uncompleted final movie
- Details the iconic legacy he left to filmmakers and audiences alike
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 relatives 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 lady 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 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 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 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 info for A Companion to Alfred Hitchcock
Her heart drank its fill of his melodious lamentations which … resembled the cries of shipwrecked mariners in a storm” (215). Flaubert’s inclusion of incidents that occur elsewhere in the opera house – such as Charles’s clumsy return at intermission from the buffet, carrying barleywater – would not have been lost on the “maximizing” Hitchcock.
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. ” 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’s status as the sole creative force in his films is not the only product of the director’s ceaseless self-mythologizing. Perhaps Hitchcock’s most cherished myth about his career was that he longed to make personally satisfying movies but was forced to bow to commercial exigencies. “There’s the constant pressure,” he told Frank S. Nugent in 1946. ’ So you compromise. You can’t avoid it. You do the commercial thing, but you try to do it without lowering your standards” (Hitchcock, “Mr. Hitchcock” 18).