By Thomas Leitch
The main finished quantity ever released on Alfred Hitchcock, protecting his profession and legacy in addition to the wider cultural and highbrow contexts of his paintings.
- Contains thirty chapters via the top 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
Chapter 1 Hitchcock's Lives (pages 9–27): Thomas Leitch
Chapter 2 Hitchcock's Literary assets (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 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 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 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 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 article (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
Familiar with Scott’s romances from her childhood, Emma readily enters into the tragic events onstage and identifies them with her own miseries. When the ill-fated hero enters, “Emma leaned forward, the better to see him, scraping the velvet of the box with her fingernails. 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.
Indeed, he confided in Gerald Pratley, “[I]t is harder to make a film that has both integrity and wide commercial appeal than it is to make one that merely satisfies one’s artistic conscience” (Hitchcock, “Credo” 37). At a stroke, this last remark not only places the desire to achieve both integrity and commercial appeal above mere integrity but assumes that Hitchcock has an artistic conscience, that his films express something deep and true about himself irrespective of their commercial appeal.
Dickens’s intention for the most picaresque of his novels, The Old Curiosity Shop (1840), was always to preserve his heroine Little Nell from defilement as she makes her “progress” towards an (ambiguous) early death (42). Epstein sums up the novel: Reduced to its simplest form, The Old Curiosity Shop is a journey. … Nell begins her odyssey as a healthy young girl and slowly moves westward, toward the symbolic realm of the dead. … After suffering so long, Nell has reached a nirvana that is beyond struggle.
A Companion to Alfred Hitchcock by Thomas Leitch