New PDF release: A Companion to Alfred Hitchcock

By Thomas Leitch

ISBN-10: 1405185384

ISBN-13: 9781405185387

ISBN-10: 144439732X

ISBN-13: 9781444397321

The main complete quantity ever released on Alfred Hitchcock, overlaying 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 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

Content:
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 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 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 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 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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Thomas Leitch's A Companion to Alfred Hitchcock PDF

The main finished quantity ever released on Alfred Hitchcock, masking his profession and legacy in addition to the wider cultural and highbrow contexts of his paintings. includes thirty chapters by means of the major Hitchcock students Covers his lengthy profession, from his earliest contributions to different administrators’ silent movies to his final uncompleted final movie info the iconic legacy he left to filmmakers and audiences alike content material: bankruptcy 1 Hitchcock's Lives (pages 9–27): Thomas LeitchChapter 2 Hitchcock's Literary assets (pages 28–47): Ken MoggChapter three Hitchcock and Early Filmmakers (pages 48–66): Charles BarrChapter four Hitchcock's Narrative Modernism: Ironies of Fictional Time (pages 67–85): Thomas HemmeterChapter five Hitchcock and Romance (pages 87–108): Lesley BrillChapter 6 relations Plots: Hitchcock and Melodrama (pages 109–125): Richard R.

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Extra info for A Companion to Alfred Hitchcock

Example text

Inevitably it opens itself to paradox and admits contraries. Blake’s “London” comes from his Songs of Innocence and Experience Shewing the Two Contrary States of the Human Mind (1794). A poet’s vision and the English tradition of which it forms a part give Hitchcock’s films more than specific imagery. In this connection, I’m reminded that Dickens drew happily from stage melodrama. A striking passage in Oliver Twist (1838) refers to how its tragic and comic scenes alternate like “the layers of red and white in a side of streaky, well-cured bacon” (102).

Braudy, Leo. The World in a Frame: What We See in Films. Garden City: Doubleday, 1976. Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. Berkeley: U of California P, 1966. Chandler, Charlotte. It’s Only a Movie: Alfred Hitchcock: A Personal Biography. New York: Simon and Schuster, 2005. Falk, Quentin. Mr. Hitchcock. London: Haus, 2007. Gottlieb, Sidney, ed. Alfred Hitchcock: Interviews. Jackson: UP of Mississippi, 2003. Gottlieb, Sidney, ed. Hitchcock on Hitchcock: Selected Writings and Interviews.

After suffering so long, Nell has reached a nirvana that is beyond struggle. (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.

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A Companion to Alfred Hitchcock by Thomas Leitch


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