By Thomas Leitch
The main complete 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 major 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 kinfolk 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 tune (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 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 unintentional 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 resources for A Companion to Alfred Hitchcock
123) Several Hitchcock films feature potential nirvanas. ” Another is Suspicion (1941), whose glass-of-milk climax likewise echoes “Ode to a Nightingale” (by John Keats) and the poet’s desire “To cease upon the midnight with no pain” (see Mogg, “Paradox”). 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).
Neither Dickens nor Hitchcock condescends. Both are concerned to explore the conceptual and expressive limits of their material and to simulate life. indd 29 2/5/2011 10:08:03 AM 30 Ken Mogg family’s neighborhood of Jackson Heights in Queens, New York. In fact, the film contains several doubles of Manny and the actual criminal who resemble them in physical appearance and who wear similar overcoats. Manny brushes against one such person on the fateful afternoon he visits his insurance office to arrange a loan on his wife’s policy.
The personal myth he authorized of darkly unfettered imagination countered by all-consuming professional commitment, a puckish sense of humor, and a decorously veiled private life has been equally powerful and even more durable. Indeed it has offered a highly influential model for biographers of other filmmakers. 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).
A Companion to Alfred Hitchcock by Thomas Leitch