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 through the best Hitchcock students
- Covers his lengthy occupation, from his earliest contributions to different administrators’ silent motion pictures to his final uncompleted final movie
- Details the long-lasting 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 relations 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 girl 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 tune (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 unintentional 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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Additional resources for A Companion to Alfred Hitchcock
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. McGilligan, Patrick. Alfred Hitchcock: A Life in Darkness and Light.
Michael Curtiz was more prolific than Hitchcock. Howard Hawks directed a more varied body of work. And Victor Fleming’s life was by any measure more interesting. But the directors who have received the most attention from biographers are those who supported a personal mythology the biographer could either record (Fritz Lang’s determination to buck the Hollywood system, Stanley Kubrick’s obsessive control over his projects) or create (Martin Scorsese’s decision to leave religious life for a Hollywood career, Quentin Tarantino’s life lived wholly through the movies).
Even to categorize a filmmaker as extroverted or introverted, of course, is already to speculate, and to argue that introverts create not only personal but autobiographical cinema because they have no other choice is to mythologize on a grand scale, a scale worthy of Hitchcock himself. But Spoto’s romantic myth of Hitchcock as involuntary autobiographer, which follows Hitchcock in its assumption that all films are and must be reflections of their director’s personal views, is a response to an earlier myth that also takes its cue from Hitchcock.