Search Results for: "Alfred Hitchcock"

Robert Philip Kolker has given us two very useful film books: The Altering Eye and A Cinema of Loneliness are excellent accounts of post-war European cinema (which take in other parts of the world too), and 197...

Discussing Hitchcock's Sabotage (1936), Peter Ackroyd likens its director “to another great London visionary, Charles Dickens.” In a few deft lines, beginning, “Although the outward circumstances of their l...

Early in Hitchcock Lost and Found (p. 2) Alain Kerzoncuf and Charles Barr note the unique “enthusiasm” that has surrounded the director's films – at any rate since Cahiers du Cinéma in France and then Movi...

Notorious (1946) is widely known as one of Alfred Hitchcock’s most lucid and pure works, emblematic of the auteur’s take on suspense and love, and his simplified, stylised cinematic storytelling. Its synopsis i...

The explanation for the Woman Double theme of The Virgin and The Whore, which I would like to believe is common cultural knowledge by now, is brilliantly enunciated by Freud in two of his most famous and influe...

In the unusual opening credits for Alfred Hitchcock’s The Trouble with Harry (1955), the camera tracks from left to right over primitive, cartoon-like drawings depicting an autumn pastoral:  birds and trees of ...

In this brilliantly imaginative piece, Ken Mogg takes several literary texts and uses them to synoptically illuminate Hitchcock’s intentions behind The Birds. Don’t for a second believe that Daphne du Maurier’s short story is the only literary influence.

Hitchcock scholar Alain Kerzoncuf resurrects some insightful archival material regarding Hitchcock’s 1944 short war-effort propaganda film.

Alfred Hitchcock’s film of John Buchan’s novel, The Thirty-Nine Steps, was one of his most successful, and he repeatedly used the story template in other films, such as North by Northwest. But Hitchcock showed little empathy for Buchan’s ideology.

Part Two of a unique research piece that documents and transcribes the contents of many, though now, rarely seen trailers to Hitchcock's features. A valuable document for Hitchcock scholars and film historians.

A unique research piece that documents and transcribes the contents of many, though now, rarely seen trailers to Hitchcock's features. A valuable document for Hitchcock scholars and film historians.

Back for Christmas (episode of Alfred Hitchcock Presents) (1956 USA 25 mins) Source: ACMI/NLA Prod Co: Shamley Productions Filmed at: Revue Studios Prod: Joan Harrison Dir: Alfred Hitchcock Scr: Francis ...

Banquo's Chair (episode of Alfred Hitchcock Presents) (1959 USA 25mins) Source: ACMI/NLA Prod Co: Shamley Productions Filmed at: Revue Studios Prod: Joan Harrison Dir: Alfred Hitchcock Scr: Francis Cockr...

This paper was presented at the Alfred Hitchcock conference For the Love of Fear convened by the Museum of Contemporary Art, Sydney, held from 31 March to 2 April 2000, and contains some references to film...

There are many books on Hitch around - this one is written by the author of The MacGuffin.

b. August 13, 1899, London, England d. April 29, 1980, Los Angeles, USA Filmography Select Bibliography Articles in Senses Web Resources Alfred Hitchcock – Master of Paradox Note from the author ...

Since the clerico-authoritarian regime, often referred to as ‘Austrofascism’ (1933–38), which arose through Chancellor Dollfuss and his Fatherland Front movement to suppress real and anticipated threats to Aust...

This two-part essay basically concerns Alfred Hitchcock’s relation to Catholicism. My thanks to Senses of Cinema for allowing its publication over two issues. Its departure-point, we saw, was David Sterritt’s c...

This two-part essay basically concerns Alfred Hitchcock’s relation to Catholicism. My thanks to Senses of Cinema for allowing its publication over two issues. If it challenges at all Raymond Durgnat’s estimatio...

Boy meets girl…and falls in love. In this case, Cary Grant with Ingrid Bergman in Notorious. Murray Pomerance’s analysis demonstrates how Hitchcock’s astute mise-en-scene makes it happen.

“This essay is a return to the scene of the crime.” The author of Hitchcock and 20^th Century Cinema re-evaluates his low opinion of Stage Fright, and discovers that the affinities between Hitchcock’s cinema and the philosopher David Hume run far deeper than he had first imagined.

The fate of Alfred Hitchcock’s little-seen film about the French Resistance reads like one of his own espionage thrillers. Hitchcock scholar Alain Kerzoncuf tracks through the archives in search of evidence.

American scholar Tom Cohen, whose areas of expertise include literature, cinema and cultural studies, gained international reputation with the publication of his first monograph, Anti-Mimesis from Plato to Hitc...

A probing examination into Hitchcock's cinema and its pull between the expressionist and the formalist/conceptual.

Barr's book does a fine job at exploring a traditionally neglected area: Hitchcock's English films and their indebtedness to English national culture.

Ehrenstein reviews this special double issue of French film magazine Trafic, published in 2002.

Alfred Hitchcock had plans to develop a project titled No Bail for the Judge, but when that faulted he turned his attention to Psycho … and changed the course of the thriller genre.

The only thing to discover at The Nitrate Picture Show is the past. With an entire slate of programming consisting of nothing besides rare nitrate prints, the festival is, by design, prohibited from showing any...

Introduction Laura Citarella's cinema, characterized by a distinctive style and profound thematic complexity, is significantly shaped by her involvement with the El Pampero Cine collective. Her films uniquely ...

1. Introduction Like how Julio Cortázar wrote about Charlie Parker, here is an attempt to write about something by means of something else. In the short story "The Pursuer" ("El perseguidor"), narrating as a j...

Anyone fortunate enough to attend the back-to-back screenings of La Flor (The Flower, Mariano Llinás, 2018) over three nights at the 62nd London Film Festival in 2018 will forever cherish the uniqueness of the ...

A note to the audience about to watch L’Amour fou, the 1969 film directed by Jacques Rivette: the movie is over four hours long. Be prepared – find a soft seat, stock up on food and drink. Give your companion a...

“There is therefore an inherent tension in late style that abjures mere bourgeois aging and that insists on the increasing sense of apartness and exile and anachronism, which late style expresses and, more impo...

When, some thirty years ago, I attended a preview of the Dutch documentary Tabee Toean (Thom Verheul, 1995) at a conference held in Amsterdam, the non-Dutch viewers were surprised that the documentary had been ...

Hollywood never knew what to do with Gloria Grahame. When Grahame’s movie career stalled in the early 1960s, she had only been in the business for fifteen years. In that short time, she had appeared in a string...

My initial viewing of Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari, Robert Wiene, 1920) took place in 2022. As a 21st-century moviegoer, I had been educated by technically refined psychological hor...