Alfred Hitchcock:
A Bibliography of Materials in the UC Berkeley Library

Web Sites
Books & Videos
Journal Articles

Articles and Books on Individual films

Movies by Director videography for works of Hitchcock in MRC
Videos on film and film history

Web Sites

Information on Hitchcock from the Internet Movie Database
MacGuffin Web Page
The Hitchcock Page

Books

Adair, Gene.
Alfred Hitchcock : filming our fears Oxford ; New York: Oxford University Press, c2002.
MAIN: PN1998.3.H58 A728 2002

After Hitchcock : influence, imitation, and intertextuality
Edited by David Boyd and R. Barton Palmer. 1st ed. Austin, TX : University of Texas Press, 2006.
Main Stack PN1998.3.H58.A68 2006
Table of contents only http://www.loc.gov/catdir/toc/ecip066/2006001351.html

"Alfred Hitchcock."
In: Conversations with the great moviemakers of Hollywood's golden age at the American Film Institute / edited and with an introduction by George Stevens, Jr. 1st ed. New York : A. A. Knopf, 2006.
Main Stack PN1998.2.A45 2006
PFA PN1998.2.A45 2006

Alfred Hitchcock: Centenary Essays
Edited by Richard Allen and S. Ishii-Gonzales. London: British Film Institute, 1999.
UCB Main PN1998.3.H58 A43 1999

Alfred Hitchcock: interviews
Edited by Sidney Gottlieb. Jackson : University Press of Mississippi, c2003. Conversations with filmmakers series.
Main Stack PN1998.3.H58.A5 2003
MoffittPN1998.3.H58.A5 2003
Contents: The talkie king talks / Evening News -- Advance monologue / Oswell Blakeston -- Half the world in a talkie / Evening News -- The man who made The 39 steps: pen portrait of Alfred Hitchcock / Norah Baring -- Britain's leading film director gives some hints to the film stars of the future / Mary Benedetta -- Mr. Hitchcock discovers love / Frank S. Nugent -- Production methods compared / The Cine-Technician -- Alfred Hitchcock's working credo / Gerald Pratley -- Story of an interview / Claude Chabrol -- Hitchcock / Ian Cameron and V. F. Perkins -- Alfred Hitchcock: Mr. chastity / Oriana Fallaci -- Alfred Hitchcock on his films / Huw Wheldon -- Let's hear it for Hitchcock / Emerson Batdorf -- Dialogue on film: Alfred Hitchcock / American Film Institute -- Alfred Hitchcock / Janet Maslin -- Hitch, hitch, hitch, hurrah! / Rui Nogueira and Nicoletta Zalaffi -- Alfred Hitchcock / Charles Thomas Samuels -- Alfred Hitchcock: the German years / Bob Thomas -- Conversation with Alfred Hitchcock / Arthur Knight -- Hitchcock / Andy Warhol

Allen, Richard
"Daphne du Maurier and Alfred Hitchcock." In: A companion to literature and film / edited by Robert Stam, Alessandra Raengo. Malden, MA ; Oxford : Blackwell Pub., 2004. Blackwell companions in cultural studies ; 7
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004017778.html
Main Stack PN1995.3.C65 2004

Allen, Richard
Hitchcock's romantic irony New York : Columbia University Press, c2007.
MAIN: PN1998.3.H58 A73 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0714/2007012808.html

Auiler, Dan.
Hitchcock's notebooks: an authorized and illustrated look inside the creative mind of Alfred Hitchcock / Dan Auiler. 1st ed. New York: Spike, c1999.
Main Stack PN1998.3.H58.A84 1999

Barr, Charles.
English Hitchcock /Charles Barr Moffat: Cameron & Hollis, c1999
Main Stack PN1998.3.H58 B32 1999

Barr, Charles
"Stannard and Hitchcock." In: Young and innocent? : the cinema in Britain, 1896-1930 / edited by Andrew Higson. Exeter : University of Exeter Press, 2002. Exeter studies in film history.
Main Stack PN1993.5.G7.Y68 2002

Bazin, Andre
The cinema of cruelty : from Bunuel to Hitchcock / by Andre Bazin; edited and with an introduction by Francois... 1st ed. New York : Seaver Books, 1982.
Main StackPN1995.9.C7.B313 1982

Bellour, Raymond.
L'Analyse du Film / Raymond Bellour. Paris: Albatros, c1979. Series title: Collection Ca cinema; 18.
UCB Main PN1998.A3 .H527

Bellour, Raymond.
The Analysis of Film / Raymond Bellour; edited by Constance Penley. Bloomington: Indiana University Press, c2000.
UCB MainPN1998.3.H58 B4513 2000

Bogdanovich, Peter
The Cinema of Alfred Hitchcock. [New York] Museum of Modern Art Film Library; distributed by Doubleday, Garden City, N.Y. [1963].
UCB Main PN1998.A3 H53

Bogdanovich, Peter
Who the Devil Made It / Peter Bogdanovich. 1st ed. New York: Alfred A. Knopf: Distributed by Random House, 1997. Conversations with Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef von Sternberg, Frank Tashlin, Edgar G. Ulmer, Raoul Walsh.
Morrison Rm PN1995.9.P7.B58 1997
Moffitt PN1995.9.P7.B58 1997

Booker, M. Keith.
"American film in the long 1950s: from Hitchcock to Disney." In: The post-utopian imagination : American culture in the long 1950s / M. Keith Booker. Westport, Conn. : Greenwood Press, 2002.
Main Stack PS374.P6.B66 2002

Brill, Lesley
The Hitchcock Romance: Love and Irony in Hitchcock's Films / Lesley Brill. Princeton, N.J.: Princeton University Press, c1988.
UCB Main PN1998.3.H58 B71 1988
UCB Moffitt PN1998.3.H58 B7 1988

Bruce, Graham (Graham Donald)
Bernard Herrmann : film music and narrative Ann Arbor, Mich. : UMI Research Press, c1985.
MAIN: ML410.H562 B81 1985

Butte, George
I know that you know that I know : narrating subjects from Moll Flanders to Marnie / George Butte. Columbus : Ohio State University Press, c2004. Theory and interpretation of narrative series.
Main Stack PR830.P75.B87 2004

Cagle, Chris.
"Rough Trade: Sexual Taxonomy in Postwar America." In: RePresenting Bisexualities: Subjects and Cultures of Fluid Desire / edited by Donald E. Hall and Maria Pramaggiore. pp: 34-52. New York: New York University Press, c1996.
Main Stack HQ74.R46 19962

Carson, Diane.
"The Nightmare World of Hitchcock's Women." Florida State University Conference on Literature and Film (10th: 1985: Tallahassee) The Kingdom of Dreams in Literature and Film: Selected Papers from the Tenth Annual Florida State University Conference on Literature and Film / edited by Douglas Fowler. pp: 11-20. Tallahassee: University Presses of Florida, c1986.
Main Stack PN1993.4.F641 1985 NRLF #: B 3 567 225

Casting a shadow : creating the Alfred Hitchcock film
Edited by Will Schmenner and Corinne Granof ; exhibition curated by Will Schmenner; contributions by David Alan Robertson ... [et al.]. Evanston, Ill. : Mary and Leigh Block Museum of Art, Northwestern University : Northwestern University Press, c2007.
Main Stack PN1998.3.H58.C37 2007
Contents: Casting Alfred Hitchcock : an art historical perspective / David Alan Robertson -- Creating the Alfred Hitchcock film : an introduction / Will Schmenner -- The last word : images in Hitchcock's working method / Scott Curtis -- In and out of the frame : paintings in Hitchcock / Tom Gunning -- I confess and Nos deux consciences / Bill Krohn -- Hitchcock ?a la carte : menus, marketing, and the macabre / Jan Olsson.

Chandler, Charlotte.
It's only a movie : Alfred Hitchcock, a personal biography New York : Simon & Schuster, c2005.
MAIN: PN1998.3.H58 C53 2005

Cohen, Tom
Anti-mimesis From Plato to Hitchcock / Tom Cohen. Cambridge ; New York, NY, USA: Cambridge University Press, 1994. Literature, culture, theory; 10
Main Stack P106.C593 1994

Cooke, Lez.
"Hitchcock and the Mechanics of Cinematic Suspense." In: Twentieth-Century Suspense: The Thriller Comes of Age / edited by Clive Bloom. pp: 189-202. New York: St. Martin's Press, 1990.
Main Stack PR888.D4.T83 1990

Corber, Robert J.
In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America / Robert J. Corber. Durham: Duke University Press, 1993. Series title: New Americanists.
UCB Main PN1998.3.H58 C67 1993
UCB Moffitt PN1998.3.H58 C67 1993

DeRosa, Steven.
Writing with Hitchcock: the collaboration of Alfred Hitchcock and John Michael Hayes New York: Faber and Faber, 2001.
MAIN: PN1998.3.H58 D47 2001

Derry, Charles
The suspense thriller: films in the shadow of Alfred Hitchcock / Charles Derry. Jefferson, N.C.: McFarland, c1988.
UCB Main PN1995.9.D4 D47 1988
UCB Moffitt PN1995.9.D4 D47 1988

Douchet, Jean.
Alfred Hitchcock / par Jean Douchet. [Paris: Editions de l'Herne, 1967]. Series title: Herne cinema; 1.
UCB Main PN1998.A3 H65 D6

Drumin, William A.
Thematic and methodological foundations of Alfred Hitchcock's artistic vision / William A. Drumin. Lewiston : Edwin Mellen Press, c2004. Studies in the history and criticism of film ; v. 8
Main Stack PN1998.3.H58.D78 2004

Dufreigne, Jean-Pierre.
Hitchcock style. New York, NY : Assouline, c2004.
MAIN: PN1998.3.H58 D84 2004

Duncan, Paul.
Alfred Hitchcock : architect of anxiety, 1899-1980 / Paul Duncan Koln : Taschen, c2003
Main Stack PN1998.A3.H65 D6

Durgnat, Raymond.
The Strange Case of Alfred Hitchcock: Or, The Plain Man's Hitchcock / Raymond Durgnat. Cambridge, Mass.: MIT Press, 1974.
UCB Moffitt PN1998.A3 H5464

Eugene, Jean-Pierre.
La musique dans les films d'Alfred Hitchcock / Paris: Dreamland, c2000.
MUSI: ML2075 .E89 2000

Everything You always Wanted to Know About Lacan: (But were Afraid to Ask Hitchcock)
Edited by Slavoj Zizek. London; New York: Verso, 1992.
UCB Main PN1998.3.H58 E9 1992
UCB Moffitt PN1998.3.H58 E9 1992

Fallaci, Oriana.
"Alfred Hitchcock: Mr. Chastity." In: The egotists : sixteen surprising interviews / Oriana Fallaci Chicago : H. Regnery Co., [1968, c1963
Main Stack CT120.F33
Bancroft CT120.F33

Falk, Quentin.
Mr Hitchcock London : Haus, c2007.
MAIN: PN1998.3.H58 F35 2007;

Finler, Joel W. (Joel Waldo)
Alfred Hitchcock: The Hollywood Years / Joel W. Finler. London: B.T. Batsford, 1992.
UCB Main PN1998.3.H58 F57 1992

Finler, Joel W. (Joel Waldo)
Hitchcock in Hollywood / Joel W. Finler. New York: Continuum, 1992.
UCB Main PN1998.3.H58 F55 1992

Fleming, Alice Mulcahey
"Alfred Hitchcock." In: The moviemakers / Alice Fleming New York : St. Martin's Press, 1973
Main Stack PN1998.A2.F538

Framing Hitchcock : selected essays from the Hitchcock Annual
Detroit : Wayne State University Press, c2002.
MAIN: PN1998.3.H58 F73 2002
Contents: Early Hitchcock: the German influence / Sidney Gottlieb -- German Hitchcock / Joseph Garncarz -- Easy virtue's frames / Christopher Morris -- The diabolic imagination: Hitchcock, Bakhtin, and the carnivalization of cinema / David Sterritt -- Hitchcock's Emersonian edges / Frank M. Meola --Hitchcock and the art of the kiss: a preliminary survey / Sidney Gottlieb -- Hitchcockian haberdashery / Sarah Street -- Hitchcock's hands / Sabrina Barton -- The Hitchcock moment / Thomas M. Leitch -- Writings for Hitch: an interview with Evan Hunter / Charles L.P. Silet -- An interview with Jay Presson Allen / Richard Allen -- Hitchcock the feminist: rereading Shadow of a doubt / Thomas Hemmeter -- Rear window, or the reciprocated glance / John A. Bertolini -- Engendering Vertigo / Leland Poague -- Avian metaphor in The birds / Richard Allen -- Alfred Hitchcock: registrar of births and deaths / David Sterritt -- "A hero for our times": foreign correspondent, hero, and the bonfire of the vanities / Leslie Brill -- Echoes of Alfred Hitchcock's Vertigo, The birds, and Frenzy in Francois Truffaut's Story of Adale H. / James M. Vest -- The myth of apocalypse and the horror film: the primacy of Psycho and The birds / Christopher Sharrett -- "See it from the beginning": Hitchcock's reconstruction of film history / Joan Hawkins -- Remaking Psycho / James Naremore.

Freeman, David
The Last Days of Alfred Hitchcock: A Memoir Featuring the Screenplay of "Alfred Hitchcock's The Short Night" / David Freeman. Woodstock, N.Y.: Overlook Press, 1984.
UCB Main PN1998.A3 H5469 1984
UCB Moffitt PN1998.A3 H5469 1984

Freedman, Jonathan and Millington, Richard H.
Hitchcock's America / edited by Jonathan Freedman and Richard Millington. New York: Oxford University Press, 1999.
Main Stack PN1998.3.H58 H575 1999
UCB Moffitt PN1998.3.H58 H575 1999

Giles, Paul.
"Guilt and salvation: Alfred Hitchcock and MartinScorsese." In: American Catholic arts and fictions : culture, ideology, aesthetics / Paul Giles. Cambridge ; New York : Cambridge University Press, 1992. Cambridge studies in American literature and culture.
Main StackPS153.C3.G55 1992

Godard, Jean Luc
"Hitchcock and the Power of Cinema." In: Cinema : the archeology of film and the memory of a century (Archeologie du cinema et memoire d'une siecle) Oxford, UK ; New York : Berg, 2005.
MAIN: PN1994 .G555 2005; MOFF: PN1994 .G555 2005; PFA : PN1994 .G555 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029767.html

Goodwin, James.
"Conrad and Hitchcock: Secret Sharers." In: The English Novel and the Movies / edited by Michael Klein and Gillian Parker. pp: 218-227. New York: Ungar, c1981
Main Stack PN1997.85.E53
Moffitt PN1997.85.E53

Greven, David.
"Engorged with Desire: The Films of Alfred Hitchcock and the Gendered Politics Eating." In: Reel food : essays on food and film / edited by Anne L. Bower. New York : Routledge, 2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004001358.html
Main Stack PN1995.9.F65.R44 2004

Haeffner, Nicholas.
Alfred Hitchcock Harlow, England ; New York : Pearson Longman, 2005.
MAIN: PN1998.3.H58 H34 2005

Haley, Michael.
The Alfred Hitchcock Album / by Michael Haley. Englewood Cliffs, N.J.: Prentice-Hall, c1981.
UCB Main PN1998.A3 .H5472 1981

Harris, Robert A.
The Films of Alfred Hitchcock / by Robert A. Harris and Michael S. Lasky. 1st ed. Secaucus, N.J.: Citadel Press, c1976.
UCB Main PN1998.A3 H54731

Hare, William
Hitchcock and the methods of suspense Jefferson, N.C. : McFarland, c2007.
MAIN: PN1998.3.H58 H37 2007
Table of contents http://www.loc.gov/catdir/toc/ecip074/2006036817.html

Hepworth, John.
"Hitchcock's Homophobia." In: Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture. / edited by Corey K. Creekmur and Alexander Doty. pp: 186-96. Durham: Duke University Press, 1995. Series Q
Main Stack HQ76.2.U5.O98 19952

Hitch: Alfred the auteur [VIDEO]
A two-part examination of the life and works of Alfred Hitchcock, the master of suspense, whose career spanned over 60 years. This second program traces the second half of his career. Commentary from Hitchcock, actors, and production specialists help chronicle the making of such classics as The Birds, Rear Window, Vertigo and Psycho. Also looks at Hitchcock's ambivalence toward the popular TV show that brought him into millions of living rooms. Features extensive film clips, interviews, and previously unavailable materials, including outtakes, filmed auditions, and Hitchcock's own home movies.
MAIN: PN1998.3.H58 F73 2002Media Resources Center DVD 2338

Hitchcock, Alfred
"The benefits of shock." In: The dangerous edge / Gavin Lambert. London : Barrie & Jenkins, 1975.
Main StackPN3448.D4L331 1975

Hitchcock, Alfred
Hitchcock on Hitchcock: Selected Writings and Interviews / edited by Sidney Gottlieb. Berkeley: University of California Press, c1995.
UCB Moffitt PN1994 .H53 1995

Hitchcock, Alfred
Hitchcock on Hitchcock : selected writings and interviews / edited by Sidney Gottlieb [electronic resource] Berkeley : University of California Press, c1995 Also available in print
Electronic location:
Full text of this book (Restricted to UC campuses)

"Hitchcock and moralist narrative." In: Great film directors : a critical anthology / edited by Leo Braudy and Morris Dickstein New York : Oxford University Press, 1978
Main Stack PN1998.A2.G74

Hitchcock: past and future
Edited by Richard Allen and Sam Ishii-Gonzales.London ; New York : Routledge, 2004.
Table of contents: http://www.loc.gov/catdir/toc/ecip0410/2003023701.html
Main Stack PN1998.3.H58; H5727 2004

Hitchcock Poster Art: From the Mark H. Wolff Collection
Woodstock, NY: Overlook Press, 1999.
Main Stack PN1998.3.H58 H573 1999

A Hitchcock Reader
Edited by Marshall Deutelbaum and Leland Poague. Ames: Iowa State University Press, c1986.
UCB Main PN1998.A3 H547351 1986
UCB Moffitt PN1998.A3 H547351 1986

Hitchcock's America
Edited by Jonathan Freedman and Richard Millington. New York: Oxford University Press, 1999.
Main Stack PN1998.3.H58.H575 1999

Hitchcock's Rereleased Films: from Rope to Vertigo
Edited by Walter Raubicheck and Walter Srebnick; with a foreword by Andrew Sarris. Detroit: Wayne State University Press, c1991. Series title: Contemporary film and television series.
UCB Main PN1998.3.H58 H58 1991
UCB Moffitt PN1998.3.H58 H58 1991

Hock, Stephen.
"This Is Too Big for One Old Name: Hitchcock and Smithee in the Signature Centrifuge." In: Directed by Allen Smithee / Jeremy Braddock and Stephen Hock, editors ; foreword by Andrew Sarris. pp: 175-205. Minneapolis : University of Minnesota Press, c2001. Commerce and mass culture series.
Main StackPN1995.9.P7.D53 2001

Hughes, Rowland
"Shadows and doubts : Hitchcock, genre and villainy." In: The Devil himself : villainy in detective fiction and film / edited by Stacy Gillis and Philippa Gates. Westport, Conn. : Greenwood Press, 2002. Contributions to the study of popular culture ; no. 73
Main Stack PR830.D4.D45 2002

Hunter, Evan
Me and Hitch / Evan Hunter. London: Faber, 1997.
UCB Main PN1998.A3 H5474 1997

Hurley, Neil P.
Soul in Suspense: Hitchcock's Fright and Delight / by Neil P. Hurley. Metuchen, N.J.: Scarecrow Press, 1993.
UCB Main PN1998.3.H58 H87 1993
UCB Moffitt PN1998.3.H58 H87 1993

Hurley, Neil P.
"Alfred Hitchcock." In: Religion in film / edited by John R. May and Michael Bird 1st ed Knoxville : University of Tennessee Press, c1982
Main Stack PN1995.9.R4.R4 1982
Moffitt PN1995.9.R4.R4 1982

Iek Slavoj.
"Everything you always wanted to know about Schelling (but were afraid to ask Hitchcock)." In: Schelling now : contemporary readings / edited by Jason M. Wirth. Bloomington, IN : Indiana University Press, c2005.
Main Stack B2898.S2493 2005

Kapsis, Robert E.
Hitchcock: The Making of a Reputation / Robert E. Kapsis. Chicago: University of Chicago Press, c1992.
UCB Main PN1998.3.H58 K36 1992
UCB Moffitt PN1998.3.H58 K36 1992

Kolker, Robert P.
"Algebraic Figures: Recalculating the Hitchcock Formula." In: Play It Again, Sam: Retakes on Remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 34-51Berkeley: University of California Press, c1998.
Main Stack PN1995.9.R45.P58 1998

Kraft, Jeff
Footsteps in the fog : Alfred Hitchcock's San Francisco / Jeff Kraft andAaron Leventhal ; foreword by Patricia Hitchcock O'Connell. Santa Monica, CA : Santa Monica Press, c2002.
UCB Main PN1998.3.H58 K73 2002
UCB Bancroft PN1998.3.H58 K73 2002
Publisher's website

Krohn, Bill.
Hitchcock at Work London: Phaidon, 2000.
Main Stack PN1998.3.H58 K76 2000

LaValley, Albert J.
Focus on Hitchcock. Edited by Albert J. LaValley. Englewood Cliffs, N.J., Prentice-Hall [1972]. Series title: Film focus. Series title: A Spectrum book.
UCB Moffitt PN1998.A3 H548

Leff, Leonard J.
Hitchcock and Selznick: the rich and strange collaboration of Alfred Hitchcock and David O. Selznick in Hollywood / Leonard J. Leff. Berkeley: University of California Press, 1999 printing. UCB Main PN1998.3.H58 L44 1999 UCB Moffitt PN1998.3.H58 L44 1999
UCB Main PN1998.A3 H54841 1987 (earlier edition)
UCB Moffitt PN1998.A3 H5484 1987 (earlier edition)
Contents via Google Books

Leitch, Thomas M.
The encyclopedia of Alfred Hitchcock / Thomas Leitch ; foreword by Gene D. Phillips. New York, NY : Facts on File, c2002. Great filmmakers series.
Main StackPN1998.3.H58.L45 2002

Leitch, Thomas M.
Find the Director and Other Hitchcock Games / Thomas M. Leitch. Athens: University of Georgia Press, c1991.
UCB Main PN1998.3.H58 L46 1991
UCB Moffitt PN1998.3.H58 L46 1991

Magistrale, Tony.
"The terror of Hitchcock." In: Abject terrors : surveying the modern and postmodern horror film / Tony Magistrale. New York : Peter Lang, c2005.
Main Stack PN1995.9.H6.M248 2005
Moffitt PN1995.9.H6.M248 2005
MAIN: PN1998.3.H58 F73 2002Table of contents http://www.loc.gov/catdir/toc/ecip059/2005007036.html

Marantz Cohen, Paula
Alfred Hitchcock: The Legacy of Victorianism / Paula Marantz Cohen. Lexington, Ky.: University Press of Kentucky, c1995
UCB Main PN1998.3.H58 M27 1995
UCB Moffitt PN1998.3.H58 M27 1995

Martin, Peter.
"Film masters and film mentors: Peter Martin calls on Hitchcock." In: Film makers on film making; statements on their art by thirty directors, edited by Harry M. Geduld. Bloomington, Indiana University Press [1967]
Main StackPN1995.9.P7.G4
Moffitt PN1995.9.P7.G4

Maxford, Howard.
The A-Z of Hitchcock / Howard Maxford. London : B.T. Batsford, 2002.
Media Center PN1998.3.H58.M35 2002

McDougal, Stuart Y.
"The Director Who Knew Too Much: Hitchcock Remakes Himself." In: Play It Again, Sam: Retakes on Remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 52-69. Berkeley: University of California Press, c1998.
Main Stack PN1995.9.R45.P58 1998

McElhaney, Joe
The death of classical cinema : Hitchcock, Lang, Minnelli Albany : State University of New York Press, c2006.
MAIN: PN1998.3.H58 M37 2006
Table of contents http://www.loc.gov/catdir/toc/ecip065/2005036236.html

McGilligan, Patrick.
Alfred Hitchcock : a life in darkness and light / Patrick McGilligan. 1st ed. New York : Regan Books, c2003.
Main StackPN1998.3.H58.M38 2003

Metz, Walter.
"Modernity in Fritz Lang and Alfred Hitchcock." In: Cinema and modernity / edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2006.
Main Stack PN1994.C4885 2006

Modleski, Tania
The Women Who Knew Too Much: Hitchcock and Feminist Theory / Tania Modleski. New York: Methuen, 1988.
UCB Main PN1998.3.H58 M64 1988
UCB Moffitt PN1998.3.H58 M64 1988

Mogg, Ken.
The Alfred Hitchcock storyLondon: Titan, 1999.
UCB Main PN1998.3.H58 M65 1999b

Mogg, Ken.
"Hitchcock made only one horror film: matters of time, space, causality, and the Schopenhauerian will." In: Dark thoughts : philosophic reflections on cinematic horror / edited by Steven Jay Schneider, Daniel Shaw. Lanham, Md. : Scarecrow Press, 2003.
Main Stack PN1995.9.H6.D27 2003

Montes-Huidobro, Matias.
"From Hitchcock to Garcia Marquez: The Methodology of Suspense." In: Critical Perspectives on Gabriel Garcia Marquez / Bradley A. Shaw and Nora Vera-Godwin, editors. pp: 105-123. Lincoln, Neb.: Society of Spanish and Spanish-American Studies, c1986.
Main Stack PQ8180.17.A73.C741 1986
Moffitt PQ8180.17.A73.C7 1986

Morris, Christopher D.
The hanging figure : on suspense and the films of Alfred Hitchcock Westport, Conn.: Praeger, 2002.
MAIN: PN1998.3.H58 M67 2002

Notorious: Alfred Hitchcock and Contemporary Art
Curated by Kerry Brougher, Michael Tarantino and Astrid Bowron; essays by Kerry Brougher and Michael Trantino. Oxford: Museum of Modern Art Oxford, 1999.
UCB PN1998.3.H58 N68 1999

Odabashian, Barbara.
"Double Vision: Scorsese and Hitchcock." In: Social and Political Change in Literature and Film: selected papers from the Sixteenth Annual Florida State University. pp: 21-35.
Main Stack PN51.F54 1991

Orr, John
Hitchcock and twentieth-century cinema London ; New York : Wallflower, 2005.
MAIN: PN1998.3.H58 O77 2005
MOFF: PN1998.3.H58 O77 2005
Contents: Hitch as matrix-figure : Hitchcock and twentieth-century cinema -- Lost identities : Hitchcock and David Hume -- Expressive moments : Hitchcock and Weimar cinema -- The flight and the gaze : Hitchcock and the British connection -- Hitchcock's actors : Notorious, Valli and the triptych effect -- Perverse miracles : Hitchcock and the French new wave -- Inside out : Hitchcock, film noir and David Lynch -- I confess, or I'm giving nothing away -- Hitch in the twenty-first century

Perry, George C.
The Films of Alfred Hitchcock. [New York: Dutton, 1965]. Series title: Dutton Vista pictureback.
UCB Main PN1998.A3 H65 P4

Perry, George C.
Hitchcock / George Perry. London: Macmillan, 1975. Series title: The Movie makers.
UCB Main PN1998.A3 H54951 1975b

Perry, Dennis R.
Hitchcock and Poe : the legacy of delight and terror / Dennis R. Perry. Lanham, Md. : Scarecrow Press, 2003. Filmmakers series.
Main Stack PN1998.3.H58.P46 2003
Contents: "The purloined letter" and murder -- Apocalypse: crises of fragmentation: "The masque of the red death" and The birds -- Inexplicable predicaments: diffusion from the center: "The pit and the pendulum" and North by northwest -- Doubles: the universe of others: "William Wilson" and Strangers on a train -- Imps of the perverse: diffusion from the self: "The tell-tale heart" and Rope -- Voyeurism: eyes of the perverse: "A mAn of the crowd" and Rear window -- Romantic obsession: return to transcendence: "The fall of the house of Usher" and Vertigo -- Humor and horror: collapsing into unity: "Ligeia" and The 39 steps.

Perspectives on Alfred Hitchcock
Edited by David Boyd. New York: G.K. Hall, c1995. Series title: Perspectives on film.
UCB Main PN1998.3.H58 P47 1995
UCB Moffitt PN1998.3.H58 P47 1995

Peucker, B.
"The scene of art in Hitchcock I and II." In: The material image : art and the real in film / Brigitte Peucker. Stanford, Calif. : Stanford University Press, 2007.
Main Stack PN1995.25.P46 2007

Phillips, Gene D.
Alfred Hitchcock / Gene D. Phillips. Boston: Twayne Publishers, 1984. Series title: Twayne's filmmakers series.
UCB Main PN1998.A3 H5496 1984
UCB Moffitt PN1998.A3 H5496 1984

Phillips, Gene D.
"Film Criticism versus Film Maker: Greene's Criticism of Hitchcock's Films." In: Essays in Graham Greene. pp: 119-126. Greenwood, Fla.: Penkevill Pub. Co., c1987
Main Stack PR6013.R44.Z6328

Polan, Dana.
"The Light Side of Genius: Hitchcock's Mr. and Mrs. Smith in the Screwball Tradition." In: Comedy/Cinema/Theory. Berkeley / edited by Andrew Horton. pp: 131-52. Berkeley: University of California Press, c1991.
Moffitt PN1995.9.C55.C65 1991

Pomerance, Murray.
An eye for Hitchcock / Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2004.
Main Stack PN1998.3.H58.P66 2004
Contents: Introduction: his master's voice -- A great fall: action north by sincerity northwest -- A bromide for Ballantine: Spellbound, psychoanalysis, light -- The tear in the curtain: I forbid you to leave this room -- Once in love with Marnie -- I confess and the men inside -- Gabriel's horn: Vertigo and the golden passage.

Pomerance, Murray.
"Hitchcock and the dramaturgy of screen violence." In: New Hollywood violence / edited by Steven Jay Schneider. Manchester ; New York : Manchester University Press ; New York : Distributed in the USA by Palgrave, 2004.
Main Stack PN1995.9.V5.N49 2004

Price, Theodore
Hitchcock and Homosexuality: his 50-year Obsession with Jack the Ripper and the Superbitch Prostitute: A Psychoanalytic View / by Theodore Price. Metuchen, N.J.: Scarecrow Press, 1992.
UCB Main PN1998.3.H58 P75 1992
UCB Moffitt PN1998.3.H58 P75 1992

Rohmer, Eric
Hitchcock [par] Eric Rohmer & Claude Chabrol. Paris, Editions universitaires [1957]. Series title: Classiques du cinema 6.
UCB Main PN1993 .C5 v.6

Rohmer, Eric
Hitchcock, The First Forty-four Films / Eric Rohmer, Claude Chabrol; translated by Stanley Hochman. New York: F. Ungar, c1979. Series title: Ungar film library.
UCB Main PN1998.A3 .H5513 1979
UCB Moffitt PN1998.A3 .H5513 1979

Rothman, William.
Hitchcock--The Murderous Gaze / William Rothman. Cambridge, Mass.: Harvard University Press, 1982. Series title: Harvard film studies.
UCB Main PN1998.A3 .H553
UCB Moffitt PN1998.A3 .H553

Rothman, William.
"Thoughts on Hitchcock's authorship." In: The "I" of the camera : essays in film criticism, history, and aesthetics 2nd ed. Cambridge, UK ; New York : Cambridge University Press, 2004.
Main Stack PN1995.R68 2004
Electronic Table of Contents

Rothman, William.
"The Villain in Hitchcock: Does He Look Like a Wrong One to You?." In: Bad : infamy, darkness, evil, and slime on screen / edited by Murray Pomerance. Albany : State University of New York Press, c2004. The SUNY series, cultural studies in cinema/video
Main Stack PN1995.9.E93.B33 2004

Rothman, William.
"The villain in Hitchcock." "In: The "I" of the camera : essays in film criticism, history, and aesthetics / William Rothman. Cambridge [Cambridgeshire] ; New York : Cambridge University Press,1988. Cambridge studies in film.
Main StackPN1995.R681 1988
MoffittPN1995.R68 1988

Royer, Carl.
" "And I brought you nightmares" : the play of horror in Hitchcock's films." In: The spectacle of isolation in horror films : dark parades New York : Haworth Press, c2005.
Main Stack PN1995.9.H6.R69 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004020146.html

Ryall, Tom.
Alfred Hitchcock and the British Cinema With a new introduction / Tom Ryall. 2nd ed. London; Atlantic Highlands, NJ: Athlone, 1996.
UCB Main PN1998.A3 H556 1996

Ryall, Tom.
Alfred Hitchcock & the British Cinema / Tom Ryall. Urbana: University of Illinois Press, c1986.
UCB Moffitt PN1998.A3 H556 1986

Ryall, Tom.
Alfred Hitchcock & the British Cinema / Tom Ryall. London: Croom Helm, c1986.
UCB Main PN1998.A3 H5561 1986b

Saito, Ayako
"Hitchcock's trilogy: A logic of mise en Sc?ne." In: Endless night cinema and psychoanalysis, parallel histories Berkeley : University of California Press, c1999
Electronic Location(s): http://ark.cdlib.org/ark:/13030/ft5k4006pk/ eScholarship. Restricted to UC campuses
MAIN: PN1995.9.P783 E53 1999

Salotto, Eleanor.
Gothic returns in Collins, Dickens, Zola, and Hitchcock New York : Palgrave Macmillan, 2006.
MAIN: PR878.D37 S25 2006
Table of contents http://www.loc.gov/catdir/enhancements/fy0642/2005057477-t.html

Samuels, Charles Thomas
"Alfred Hitchcock." In: Encountering directors New York, Putnam [1972]
Main StackPN1998.A2.S16
MoffittPN1998.A2.S16

Samuels, Robert
Hitchcock's bi-textuality: Lacan, Feminisms, and Queer Theory / Robert Samuels. Albany: State University of New York Press, c1998. Series title: SUNY series in psychoanalysis and culture.
UCB Main PN1998.3.H58 S26 1998

Sarris, Andrew
"Alfred Hitchcock." In: "You ain't heard nothin' yet" : the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York : Oxford University Press, 1998.
Main StackPN1995.7.S27 1998
Moffitt PN1995.7.S27 1998

Schickel, Richard.
Schickel on film: encounters--critical and personal--with movie immortals / Richard Schickel. 1st ed. New York: W. Morrow, c1989.
UCB Main PN1995 .S341 1989

Schneider, Lissa.
"The Woman Alone in Conrad and Hitchcock." In: Conrad on Film / edited by Gene M. Moore. pp: 61-77. Cambridge; New York: Cambridge University Press, 1997.
Main Stack PR6005.O4.Z581165 1997

Sharff, Stefan.
Alfred Hitchcock's High Vernacular: Theory and Practice / Stefan Sharff. New York: Columbia University Press, c1991.
UCB Main PN1998.3.H58 S48 1991
UCB Moffitt PN1998.3.H58 S48 1991

Simone, Sam P.
Hitchcock As Activist: Politics and the War Films / by Sam P. Simone. Ann Arbor, Mich.: UMI Research Press, c1985. Series title: Studies in cinema; no. 36.
UCB Main PN1998.A3 H558 1985

Simsolo, Noel.
Alfred Hitchcock. Presentation par Noel Simsolo. Propos d'Alfred Hitchcock ... Paris, Seghers, 1969. Series title: Cinema d'aujourd'hui, 54.
UCB Main PN1993 .C4 v.54

Singer, Irving.
Three philosophical filmmakers : Hitchcock, Welles, Renoir / Irving Singer. Cambridge, Mass. : MIT Press, c2004.
Main StackPN1998.3.H58.S54 2004

Sloan, Jane
Alfred Hitchcock: A Filmography and Bibliography / Jane E. Sloan. Berkeley: University of California Press, c1995. Series title: A Reference publication in film.
UCB Main PN1998.3.H58 S57 1995

Sloan, Jane
Alfred Hitchcock: A Guide to References and Resources / Jane E. Sloan. New York: G.K. Hall; Toronto: Maxwell Macmillan Canada ; New York: Maxwell Macmillan International, c1993. Series title: A Reference publication in film.
UCB Main PN1998.3.H58 A12 S57, 1993
UCB Moffitt PN1998.3.H58 A12 S57, 1993

Smith, Susan.
Hitchcock: suspense, humour and tone London: British Film Institute, 2000.
UCB Main PN1998.3.H58 S6 2000

Smith, Steven C.
A heart at fire's center the life and music of Bernard Herrmann Berkeley : University of California Press, c1991
Electronic Location(s): http://ark.cdlib.org/ark:/13030/ft509nb37s/ eScholarship. Restricted to UC campuses

Spoto, Donald
The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures / Donald Spoto. New York: Hopkinson and Blake, [1976].
UCB Main PN1998.A3 H5641
UCB Moffitt PN1998.A3 H5641

Spoto, Donald
The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures / Donald Spoto. 2nd ed., completely rev. and updated. New York: Doubleday, 1992.
UCB Main PN1998.3.H58 S68 1992
UCB Moffitt PN1998.3.H58 S68 1992

Spoto, Donald
The Dark Side of Genius: The Life of Alfred Hitchcock / by Donald Spoto. 1st ed. Boston: Little, Brown, c1983.
UCB Main PN1998.A3 H565 1983
UCB Moffitt PN1998.A3 H565 1983

Sterritt, David.
The Films of Alfred Hitchcock / David Sterritt. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1993. Series title: Cambridge film classics.
UCB Main PN1998.3.H58 S74 1993
UCB Moffitt PN1998.3.H58 S74 1993

Strauss, Marc.
Alfred Hitchcock's silent films / Marc Raymond Strauss. Jefferson, N.C. : McFarland, c2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004020169.html
Main Stack PN1998.3.H58.S76 2004

Strauss, Marc.
Hitchcock Nonetheless Jefferson, N.C. : McFarland & Co., c2007.
Main Stack PN1998.3.H58.S77 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0620/2006030123.html

Stromgren, Dick.
"'Now to the Banquet We Press': Hitchcook's Gourmet and Gourmand Offerings." In: Beyond the Stars III / edited by Paul Loukides and Linda K. Fuller. pp: 38-50. Bowling Green, Ohio: Bowling Green University Popular Press, c1990
Main Stack PN1995.9.C36.B49 1990 Library has: v.[1]-5 (c1990-c1996)
Moffitt PN1995.9.C36.B49 1990 Library has: v.[1]-5 (c1990-c1996)

Sullivan, Jack Hitchcock's music New Haven [Conn.] : Yale University Press, c2006.
MAIN: ML2075 .S89 2006;
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010348.html

Tatar, Maria
Secrets beyond the door : the story of Bluebeard and his wives Princeton, N.J. : Princeton University Press, c2004.
Main Stack GR75.B52.T38 2004
Discusses the Bluebeard story in various contexts. Tatar's analysis moves through many media: folktale, broadsheet, stage play, short story, film, opera, novel, and novella. She also moves through centuries, from Charles Perrault's late seventeenth-century Tales of Mother Goose (1697) through a collection of Hitchcock films in the mid-twentieth century.

Taylor, John Russell.
Hitch: The Life and Times of Alfred Hitchcock / by John Russell Taylor. 1st Da Capo Press ed. New York: Da Capo Press, 1996.
UCB Main PN1998.3.H58 T38 1996

Taylor, John Russell.
Hitch: The Life and Times of Alfred Hitchcock / by John Russell Taylor. London; Boston: Faber and Faber, 1978.
UCB Main PN1998.A3 .H567 1978b

Tout Ce Que Vous Avez Toujours Voulu Savoir Sur Lacan Sans Jamais Oser le Demander a Hitchcock
Edited by Mladen Dolar ... [et al.]; sous la direction de Slavoj Zizek; preface de Marie-France Pisier. [Paris]: Navarin, c1988.
UCB Main PN1998.3.H58 T68 1988

Tisseron, Serge.
Comment Hitchcock m'a gueri : Que cherchons-nous dans les images? Albin Michel, c2003.
MAIN: PN1995.9.P783 T56 2003

Truffaut, Francois.
Le Cinema Selon Hitchcock [par] F. Truffaut avec la collaboration de Helen Scott. Paris, R. Laffont [1966].
UCB Main PN1998.A3 H65 T7

Truffaut, Francois.
Hitchcock, by Francois Truffaut with the collaboration of Helen G. Scott. New York, Simon and Schuster [1967].
UCB Main PN1998.A3 H65 T72 1967
UCB Moffitt PN1998.A3 .H573

Truffaut, Francois.
Hitchcock / Truffaut; avec la collaboration de Helen Scott. Ed. definitive. [Paris]: Ramsay, c1983.
UCB Main PN1998.A3 H571 1983

Truffaut, Francois.
Hitchcock / by Francois Truffaut; with the collaboration of Helen G. Scott. Rev. ed. New York: Simon and Schuster, c1984.
UCB Main PN1998.A3 H5731 1984
UCB Morrison PN1998.A3 H5731 1984

Tuska, Jon.
Encounters with filmmakers: eight career studies / Jon Tuska. New York: Greenwood Press, 1991. Series title: Contributions to the study of popular culture no. 29.
UCB Main PN1998.2 .T8 1991
UCB Moffitt PN1998.2 .T8 1991

Vest, James M.
Hitchcock and France : the forging of an auteur / James M. Vest. Westport, Conn. : Praeger, 2003.
Main StackPN1998.3.H58.V47 2003

Villien, Bruno.
Hitchcock / Bruno Villien. Paris: Colona, c1982. Series title: Collection L'Oil du cinema.
UCB Main PN1998.A3 H5771 1982

Walker, Michael.
Hitchcock's motifs / Michael Walker. Amsterdam : Amsterdam University Press, c2005.
Main Stack PN1998.3.H58.W36 2005

Weis, Elisabeth
The Silent Scream: Alfred Hitchcock's Sound Track / Elisabeth Weis. Rutherford [N.J.]: Fairleigh Dickinson University Press, c1982.
UCB Main PN1998.A3 .H578 1982
UCB Moffitt PN1998.A3 .H578 1982

Wollen, Peter
"Hitch: a tale of two cities (London and Los Angeles)." In: Paris Hollywood : writings on film London ; New York : Verso, 2002.
MAIN: PN1994 .W618 2002;

Wood, Robin
Hitchcock's Films. London, A. Zwemmer; New York, A. S. Barnes [1965].
UCB Main PN1998.A3 H65.W6

Wood, Robin
Hitchcock's Films. / Robin Wood. South Brunswick, N.J.: A. S. Barnes, c1977.
UCB Moffitt PN1998.A3H58 1977

Wood, Robin
Hitchcock's Films Revisited New York : Columbia University Press, c2002.
MAIN: PN1998.3.H58 W66 2002

Wood, Robin
Hitchcock's Films Revisited / Robin Wood. New York: Columbia University Press, c1989.
UCB Main PN1998.3.H58 W661 1989
UCB Moffitt PN1998.3.H58 W66 1989

Wood, Robin.
"The Murderous Gays: Hitchcock's Homophobia." In: Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture. / edited by Corey K. Creekmur and Alexander Doty. pp: 197-215. Durham: Duke University Press, 1995. Series Q
Main Stack HQ76.2.U5.O98 19952

Yacowar, Maurice.
Hitchcock's British Films / by Maurice Yacowar. Hamden, Conn.: Archon Books, 1977.
UCB Main PN1998.A3 H591
UCB Moffitt PN1998.A3 H591

Yanal, Robert J.
Hitchcock as philosopher. Jefferson, N.C. : McFarland & Co., c2005.
MAIN: PN1998.3.H58 Y36 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005014055.html

Zimmerman, Jacqueline Noll
"Hitchcock, chaos, and the devils of unreason." In: People like ourselves : portrayals of mental illness in the movies / Jacqueline Noll Zimmerman. Lanham, Md. : Scarecrow Press, 2003. Studies in film genres ; no. 3
Main Stack PN1995.9.M463.Z56 2003

Zizek, Slavoj.
Looking Awry: An Introduction to Jacques Lacan through Popular Culture / Slavoj Zizek. Cambridge, Mass.: MIT Press, c1991.
GRDS: BF175.4.C84 Z59 1991; Non-circulating; may be used only in Graduate Services.
MAIN: BF175.4.C84 Z59 1991

Journal Articles

"Alfred Hitchcock, director." Newsweek v. 47 (June 11 1956) p. 105-8

"All About Melodrama." Cahiers du Cinema, no537 (July/Aug. 1999) p. 20-4
Part of a special section on filmmaker Alfred Hitchcock. The text of Hitchcock's lecture on the theme of melodrama in motion pictures, which was delivered at Radio City Music Hall in New York on March 30, 1939, is reproduced. Apart from melodrama, the director also discusses a number of topics, including the distinction between action and dialog, the development of a plot, and objective and subjective suspense,

Allen, Richard.
"Hitchcock, or the pleasures of metaskepticism." October no89 (Summer 1999) p. 69-86
"Alfred Hitchcock bestows an admixture of romance and irony upon what the audience perceives in his films. This double aspect could be termed "metaskepticism," as it evokes the sense that Hitchcock affirms the reality of appearances and the romance narrative that appearances serve to sustain, and yet, at the same time, calls into question the reality of appearances and exposes the fictiveness of the romance narrative to undermine it. The metaskeptical nature of this narrative is fashioned in relationship to the figuration of a duplicitous masculinity within the romance narrative. The conventional gentlemanly exteriors of these figures conceal the darker allure of a predatory desire, and Hitchcock's visual style evokes this disguised presence. The basis of the metaskeptical text lies not simply in male anxiety over sexual desire, but in the anxiety of the male author who places himself on display through the text." [Art Index]

Allen, Jeanne T.
"Jeanne T. Allen Responds to R. Barton Palmer's 'The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in Rear Window and Psycho'." Cinema Journal vol. 25 no. 4. 1986 Summer. pp: 54-58.

Allen, Richard.
"Hitchcock and Cavell." The Journal of Aesthetics and Art Criticism v. 64 no. 1 (Winter 2006) p. 43-53
"Part of a special issue on philosophy and film. The writer considers the validity of Stanley Cavell's view that film has an intrinsic relationship to philosophical skepticism. He provides a synthetic overview of central themes in Cavell's own philosophy, and he then turns to the films of Alfred Hitchcock to test Cavell's claim. He suggests that Hitchcock's films do not embody the philosophical skepticism so central to Cavell, so that one can question the validity of Cavell's understanding of film as an embodiment of this specific philosophical trope." [Art Index]

Allen, T.
"Hitchcock's half-century grin." America v. 134 (April 3 1976) p. 290-1

Almansi, Renato J. Alfred
"Hitchcock's disappearing women: A study in scopophilia and object loss." International Review of Psycho-Analysis.1992 Spr. 19 (1): p. 81-90
"A psychoanalytic investigation of A. Hitchcock's Rear Window shows that this film is essentially grounded in the coalescence of 2 psychic mechanisms: an intense fear of object loss that echoes throughout the film and a sadistically interpreted primal scene. It is suggested that this fusion may have been enhanced by the existence of a psychological link between these mechanisms in the fact that primal scene exposure may activate separation anxiety. The genetic connection between fear of object loss and the development of scopophilic tendencies is discussed, and literature on the topic is presented. The origins and operation of these mechanisms are examined in Hitchcock's films, in his character structure, and in his life history." (PsycINFO Database Record (c) 2000 APA, all rights reserved) [Long Display]

Ansen, D.
"Minister of fear." [Obituary] Newsweek v. 95 (May 12 1980) p. 87-8

Bade, James N.
"Murnau's The last laugh and Hitchcock's subjective camera." (Critical essay). Quarterly Review of Film and Video 23.3 (July-Sept 2006): p257(10).
"Alfred Hitchcock, the assistant director of an Anglo-German co-production, The Blackguard, was greatly attracted to the work of the greatest German film director, Friedrich Wilhelm Murnau, as he learnt more about the subjective shot from Murnau who was making his masterpiece of silent cinema, The Last Laugh at the UFA studios in Neubabelsberg in the adjoining set. The influence of Murnau on Hitchcock's work has been noticed in the films and is regarded as one of the best exponents of subjective camera." [Expanded Academic Index]

Bannon, Barbara M.
"Double, Double, Toil and Trouble." (treatment of the double) Literature/ Film Quarterly, vol. 13 no. 1. 1985. pp: 56-65.
UC users only

Barbarow, George
"Hitchcockery." Hudson Review 4:4 (1952:Winter) p.603
UC users only

Barr, Charles
"Hitchcock and Powell: Two Directions for British Cinema." Screen, vol. 46, no. 1, pp. 5-13, Spring 2005.
"Part of a special issue marking the centenary of the birth of British film director Michael Powell. The writer discusses the careers of Powell and Alfred Hitchcock and their significance in the development of British cinema. He outlines parallels between the directors' careers and discusses evidence for the points at which their paths crossed. Examining the parallels between the films they made, he argues that their careers represent two directions for British cinema: the choice to go to Hollywood (Hitchcock) or turn back to Britain (Powell). He contends that both succeeded, nevertheless, to avoid producing a nebulous kind of international product, creating instead a sharper and more dynamic form of British cinema." [Art Index]

Beckman, Karen
"Violent vanishings: Hitchcock, Harlan, and the disappearing woman." Camera Obscura no39 Sept 1996. p. 78-103
"The writer analyzes the plot of the vanishing woman in the 1938 mystery/melodrama films The Lady Vanishes by Alfred Hitchcock and Verwehte Spuren (The Footprints Blown Away) by National Socialist director Veit Harlan. Both movies feature a middle-aged woman who mysteriously disappears--a spinster in Hitchcock's film and a mother in Harlan's. They also rely heavily upon the romance plot, which demands that this woman be obliterated to enable the progression of romantic love. Hitchcock repeatedly draws the viewer's attention to the complicity between cinematic and magic romance, disrupts the illusion of continuity, and refuses to allow the viewer a passive role. By contrast, Harlan supports the National Socialist idea that the State can annihilate its unwanted others by fully exploiting the complicity between the romance plot and cinematic illusions of continuity." [Art Index]

Belton, John
"Can Hitchcock Be Saved from Hitchcock Studies?" Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 28:4 [Fall 2003] p. 16-21
UC users only
"Ten books that center on the work of Alfred Hitchcock and his collaborators are reviewed. The author discusses whether Hitchcock studies has devolved into another example of "cultural commodification, instrumentalization, and reification." Authors of books reviewed include Charles Barr, Raymond Bellour, Herbert Coleman, Peter Conrad, Stephen DeRosa, Raymond Durgnat, Jeff Kraft and Aaron Leventhal, Thomas Leitch, Tony Lee Moral, and Robin Wood." [Internationa Index to the Performing Arts]

Belton, John
"Dexterity In A Void: The Formalist Esthetics Of Alfred Hitchcock." Cin?aste 10:3 (1980:Summer) 9

Bitsch, C.
"Alfred Hitchcock entre trois films." Cahiers du cin?ma 16:92 (1959:f?vr.) p.24

Bitsch, C.; Truffaut, F.
"Rencontre avec Alfred Hitchcock." Cahiers du cin?ma 11:62 (1956:ao?t/sept.) p.1

Bogdanovich, Peter.
"Hitchcocok par Hitchcock: entretien avec Peter Bogdanovich." Cahiers du Cinema no537 July/Aug 1999. p. 32-5
"Part of a special section on filmmaker Alfred Hitchcock. On the occasion of the centennial of the birth of Hitchcock, extracts from an interview conducted by Peter Bogdanovich in 1963 are presented. The director gives his opinions on a number of his films, including The Lodger and Psycho, and declares The Thirty-Nine Steps to be one of his favorite films."[Art Index]

Bogdanovich, Peter.
"Is That Ticking (pause) A Bomb?" New York Times, sec2 (Sun, April 11, 1999):AR15(N), AR15(L), col 2, 50 col in.

Braudy, Leo
"Hitchcock, Truffaut, and the irresponsible audience." Film Quarterly v 21 no4 Summer 1968. p. 21-7

Brent, Jessica.
"Beyond the gaze: visual fascination and the feminine image in silent Hitchcock." Camera Obscura, May 2004 i55 p77(36)
UC users only
"Are not the traits which I indicated (the make-up, the whiteness, the wig, etc.) just like the blunting of a meaning too clear, too violent? Do they not give the obvious signified a kind of difficulty prehensible roundness, cause my reading to slip? An obtuse angle is greater than a right angle ...; the third meaning also seems to me greater than the pure, upright, secant, legal perpendicular of the narrative, it seems to open up the field of meaning totally, that is infinitely." [Expanded Academic Index]

Brody, Alan
"The Gift of Realism: Hitchcock and Pinter." Journal of Modern Literature 3:2 (1973:Apr.) p.149-172-172
UC users only

Brown, Royal S.
"Herrmann, Hitchcock, and the music of the irrational." Cinema Journal v 21 no2 Spring 1982. p. 14-49
UC users only
"The extremely fruitful collaboration between director Alfred Hitchcock and composer Bernard Herrmann allowed for the evolution of a cine-musical style that seems in many ways to be the only one possible for a director primarily concerned with the eruptions of the irrational within the context of a solidly established ethos." [Periodicals Contents Index]

Caminer, Sylvia; Gallagher, John Andrew.
"An Interview with Joseph Stefano." Films in Review v47, n1-2 (Jan-Feb, 1996):27 (9 pages).

Camp, Jocelyn.
"John Buchan and Alfred Hitchcock." Literature/Film Quarterly 6:3 (1978:Summer) 230

Carreras-Kuntz, Mar?a Elena de las.
"The Catholic Vision In Hollywood: Ford, Capra, Borzage and Hitchcock.' Film History [Australia] 2002 14(2): 121-135.
"Analyzes the influence of the Catholic faith on thefilms of directors John Ford, Frank Capra, FrankBorzage, and Alfred Hitchcock. The themes ofcommunion, mediation, and sacramentality recurin their films, as do moral epiphanies, originalsin, redemption, and gospel parables." [America History and Life]

Carson, Diane.
"The Nightmare World of Hitchcock's Women." Michigan Academician, vol. 18 no. 3. 1986 Summer. pp: 349-356.

Casetti, Francesco.
"Antonioni and Hitchcock: Two Strategies of Narrative Investment." Sub-Stance: A Review of Theory and Literary Criticism, vol. 15 no. 3 (51). 1986. pp: 69-86.

Chumo, Peter N., II.
"'The Crying Game,' Hitchcockian Romance, and the Quest for Identity." Literature-Film Quarterly v23, n4 (Oct, 1995):247 (7 pages).
UC users only

Cohen, Tom.
"Hitchcock and the Death of (Mr.) Memory." Qui Parle: Literature, Philosophy, Visual Arts, History, vol. 6 no. 2. 1993 Spring-Summer. pp: 41-74.

Cohen, Tom.
"Beyond 'The Gaze': Zizek, Hitchcock, and the American Sublime." AMLH vol. 7 no. 2. 1995 Summer. pp: 350-78.
UC users only

Combs, R.
"Hitch in 3D: looking at an old master with polaroid glasses."Sight and Sound v 50 no2 Spring 1981. p. 82

Corber, Robert J.
"Reconstructing Homosexuality: Hitchcock and the Homoerotics of Spectatorial Pleasure." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 13 no. 2. 1991 Spring-Summer. pp: 58-82.

Davidson, James A.
"Some Thoughts on Alfred Hitchcock and Vladimir Nabokov." Images #3

de Mijolla-Mellor, Sophie.
"Hitchcock, the terror of fiction."Topique: Revue Freudienne. L' Esprit du Temps 1994. 24 (53): p. 231-251
Suggests that motion picture director Alfred Hitchcock based is creation of images on the primal experience of vertigo, which was the source of the power they exerted on the viewer. The metaphysical idea (the result of an authentic childhood incident) is communicated through a silent accumulation of effects and transmitted through the film characters. The themes of incommunicability and false guilt reflect the vertigo of being neither attached nor heard anywhere. Hitchcock's solution consists of mobilizing the residues of infantile sexual theories where the primal scene appears as murder, and organizing them into a scenario that allows the viewer to share an illusory world where terror can be a source of pleasure."(PsycINFO Database Record (c) 2000 APA, all rights reserved)

"Directors on Hitchcock." Sight and Sound ns9 no8 Aug 1999 supp. p. 20-36
A selection of film directors comment on two questions regarding Hitchcock: what they believe is Hitchcock's most definitive scene or moment and what the importance of Hitchcock is to them personally. Among the directors who respond are Woody Allen, Theo Angelopoulos, Atom Egoyan, Martin Scorsese, and John Waters.

Dick, Bernard F.
"Hitchcock's terrible mothers." (filmmaker Alfred Hitchcock's portrayal of women)(Critical Essay)Literature-Film Quarterly v28, n4 (Oct, 2000):238 (12 pages).
UC users only
This article examines the mother-child relationships in the films by Alfred Hitchcock, focusing on 'Psycho' and 'The Birds.' Topics addressed include matricide, as well as the psychological and sexual dynamics of mother-child relationships.

"Directors on Hitchcock."
Sight and Sound ns9 no8 Aug 1999 supp. p. 20-36
A selection of film directors comment on two questions regarding Hitchcock: what they believe is Hitchcock's most definitive scene or moment and what the importance of Hitchcock is to them personally. Among the directors who respond are Woody Allen, Theo Angelopoulos, Atom Egoyan, Martin Scorsese, and John Waters.

Doherty, Thomas.
"We are all Hitchcock's children." (Alfred Hitchcock) Chronicle of Higher Education v45, n48 (August 6, 1999):B6 (2 pages).
Contemporary filmmakers and audiences have been greatly influenced by the films of Alfred Hitchcock, which were once thought to be unworthy of critical scholarship. Hitchcock took the art of suspense and cinematography to new heights through his fluid camera work, unnerving jump cuts, and voyeuristic scenes. Hitchcock's wide appeal is evident in his popular culture status and the amount of scholarship his work has generated.

Durgnat, Ray
"The business of fear." Sight and Sound ns9 no8 Aug 1999 supp. p. 2-11
"A survey of Alfred Hitchcock's early thrillers. His "Big Six" thrillers--The Man Who Knew Too Much, The 39 Steps, Secret Agent, Sabotage, The Lady Vanishes, and Young and Innocent--were all made during his English period and are all socially mobile. These thrillers display little faith in English justice, leaving several killings unsolved, and often making a wrongly suspected hero become a fox on the run. Theorists have described Hitchcock's philosophy as rigorously moralist, healthily humanist, ignominiously neurotic, misogynistic, and male-voyeuristic. Some of these views may be obviously hypochondrial, but they do contain some insights." [Art Index]

Domarchi, Jean; Douchet, Jean
"Entretien avec Alfred Hitchcock." Cahiers du cin?ma 17:102 (1959:d?c.) p.17

Durgnat, Ray; Gross, Larry.
"Hitchcock." (film director Alfred Hitchcock) Sight and Sound v9, n8 (August, 1999):1H (4 pages).
A filmography of the entire works of Alfred Hitchcock is included in a supplement dedicated to the film director on the centenary of his birth. Hitchcock's career began in 1925 with 'The Pleasure Garden', and his last film was 'Family Plot', which was released in 1976. Contemporary film directors comment on what they consider to be Hitchcock's most definitive

Durgnat, Raymond.
"If the ''Punishment'' Fits (Defense of Alfred Hitchcock) Film Comment, Jan-Feb V33; N1; 1997; 87

Durgnat, Raymond.
"To Catch a 'Hitch': The Murderous Gaze." Quarterly Review of Film Studies, vol. 8 no. 1. 1983 Winter. pp: 43-48.

Dynia, Philip A.
"Alfred Hitchcock and the Ghost of Thomas Hobbes." Cinema Journal 15:2 (1976:Spring) 27
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Eaton, Michael.
"Drella and the MacGuffin Alfred Hitchcock meets Andy Warhol and both get out of the encounter alive - just." Senses of Cinema Issue No. 6, May 2000

Edelman, Lee.
"Piss Elegant: Freud, Hitchcock, and the Micturating Penis." GLQ: A Journal of Lesbian and Gay Studies, vol. 2 no. 1-2. 1995. pp: 149-77.

Everson, W. K.
"Rediscovery; Easy virtue."Films in Review v 26 May 1975. p. 293-6

Fawell, John.
"Fashion dreams: Hitchcock, women, and Lisa Fremont." Literature/Film Quarterly (28:4) 2000, 274-83. (2000)
UC users only

Fell, J.L.
"Structuring Charts and Patterns in Film." Quarterly Review of Film Studie III/3, Summer 78; p.371-388.
Surveys diagrams of narrative structure by Mark Sandrich in "Follow the fleet", by King Vidor in "The Citadel" and "War and Peace", by Thomas Wright in "Family Plot" and others by scholars.

Ferrara, Patricia.
"The Discontented Bourgeois: Bourgeois Morality and the Interplay of Light and Dark Strains in Hitchcock's Films." New Orleans Review, vol. 14 no. 4. 1987 Winter. pp: 79-87

"Filmography: Hitchcock's feature films."
Sight & Sound, ns9 no8 (Aug. 1999 supp) p. 12-19
An annotated chronological filmography of Alfred Hitchcock's feature films from 1925 to 1976 is provided.

Fisher, Jean
"Chasing dreams: Victor Hitchcock and Alfred Burgin." Artforum International v 22 May 1984. p. 39-43

French, Philip
"Alfred Hitchcock: the film-maker as Englishman and exile" Sight and Sound v 54 Spring 1985. p. 116-22
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French, Philip
"Alfred Hitchcock: the film-maker as Englishman and exile." Sight and Sound v 54 Spring 1985. p. 116-22

Friedman, S. P.
"The Wrong Man." (Alfred Hitchcock, Relation To Robert Benton, 'Still Of The Night') Film Comment, Nov-Dec V31; N6; 1995; 86

Gallagher, Tag.
"Hitchcock, Machines, and Us." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 24:(no pagination). 2003 Jan-Feb

Garncarz, Joseph
"German Hitchcock." Hitchcock Annual [2000-2001] 73-99
"Explains that in 1924, Hitchcock worked as the screenwriter and set-designer of "The Blackguard" ("Die Prinzessin und der Geiger," translated as "The Princess and the Violinist") for Ufa in Berlin, and in 1925-1926 he directed his first two films, "The Pleasure Garden" ("Irrgarten der Leidenschaft," translated as "The Labyrinth of Passion") and "The Mountain Eagle" ("Der Bergadler"), for Emelka in Munich. Attempts to reconstruct Hitchcock's career during this time period. Takes a look at which companies were involved in these productions, what the production conditions were like, which type of film was to be produced, and what kind of role Hitchcock was to play. Addresses the question as to whether Hitchcock lived up to expectations or did things his own way. Touches upon the subject of the critical and commercial success of Hitchcock's films in Germany. Examines the significance of Hitchcock's experience in Germany for his later career." [International Index to the Peforming Arts]

Garrett, Greg.
"Alfred Hitchcock and the Deviant Audience." New Orleans Review, vol. 18 no. 4. 1991 Winter. pp: 29-32.

Garrett, Greg.
"The Men Who Knew Too Much: The Unmade Films of Hitchcock and Lehman." North Dakota Quarterly, vol. 61 no. 2. 1993 Spring. pp: 47-57.
The 1957-79 professional collaboration between director Alfred Hitchcock and Hollywood screenwriter Ernest Lehman produced the films North by Northwest (1959) and Family Plot (1976), but the two also worked on three film ideas they failed to make: The Wreck of the Mary Deare (1957), Blind Man (1960-61), and The Short Night (1978-79).

Gilliatt, P.
"Current cinema [A. Hitchock]." The New Yorker v. 47 (September 11 1971) p. 91-4

Gliatto, Tom.
"Wicked, Wicked Hitch: Alfred Hitchcock took a genius's diabolical pleasure in making movie audiences shriek." (Out Of The Past) People Weekly v52, n11 (Sept 20, 1999):252+.

Golden, Cameron
"From punishment to possibility: re-imagining Hitchcockian paradigms in The New York Trilogy." (Critical Essay). Mosaic (Winnipeg) 37.3 (Sept 2004): p93(16). (7608 words)
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This essay examines intertextual links between Paul Auster, a fiction writer with a filmmaker's sensibility, and Alfred Hitchcock, suggesting that Auster has re-narrated Hitchcock's work to allow his detectives the postmodern (and American) possibility of reinvention.

Gottlieb, Sidney
"Early Hitchcock: The German Influence."Hitchcock Annual [1999-2000] 100-130
"Discusses the stylistic, thematic, and generic aspects of the German influence on Alfred Hitchcock. Explores the relationship between Hitchcock and several key German directors. Examines how Hitchcock's "idea of cinema"--his vision of the ideal production system, the role of the director, the definition of film as art and entertainment--was deeply influenced by the German model. States the German influence on Hitchcock was arguably the most significant, noting it involves not only a debt to a few great filmmakers, and a few important films, but also an immersion in a broad-based production environment, culture, and aesthetic of cinema." [International Index to the Peforming Arts]

"Great relationships." American Cinematographer v 79 no11 Nov 1998. p. 68-81
"A special section on notable filmmaking partnerships. The following collaborative relationships have produced outstanding work and inspired others to examine and foster their own creative partnerships: director D. W. Griffith and cinematographer G. W. "Billy" Bitzer; director Frank Capra and cinematographer Joseph Walker; director Alfred Hitchcock and cinematographer Robert Burks; cinematographer Sven Nykvist and director Ingmar Bergman; director Clint Eastwood and cinematographers Jack Green and Bruce Surtees; and cinematographer Robert Richardson and director Oliver Stone." [Art Index]

Greig, Donald.
"The Sexual Differentiation of the Hitchcock Text" Screen, v. 28 (Winter '87) p. 28-46.

Gross, Larry
"Parallel lines: Hitchcock the screenwriter." Sight & Sound, ns9 no8 (Aug. 1999 supp) p. 38-44
"Although one aspect of Alfred Hitchcock's rhetoric drastically privileged the image over the word, he also insisted that it was during the screenwriting that his most serious work was done. He defined the screenwriting process as the space where all fundamental directorial decisions have already been made; he did not think of "writing" apart from the work he planned for the camera to do. Screenwriting meant not only creating the imagery that would be the bone-structure of the story but also forming a total system where the literary and visual elements of the movie would be designed in a dynamic interaction." [Art Index]

Gunning, Tom.
"Hitchcock and the Picture in the Frame." New England Review. 2007. Vol. 28, Iss. 3; pg. 14, 19 pgs
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"Gunning traces the interrelation between paintings, their frames, and the frame of Alfred Hitchcock's camera. He looks at precisely the way the formal aspects of painting, the differentiation between the space of representation and the space of the world of the observer, are both kept apart and interrelated. Paintings in Hitchcock rarely play a merely decorative role. Instead, through their dynamic relation to the act of framing, they project an influence into the world of the character as conduits of guilt and desire." [ProQuest]

Gustainis, J. Justin; DeSilva, Deborah Jay.
"Archetypes as propaganda in Alfred Hitchcock's 'lost' World War II films."
Film & History (27:1-4) 1997, 80-7.
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"Elaborates on the lesser-known wartime film contributions made by director Alfred Hitchcock. Explains Hitchcock's involvement in the making of short narrative films, produced by the British Ministry of Information, designed to glorify the French Resistance movement during World War II. States that given a British film crew, and with a group of French actors-in-exile called the Moliere Players, Hitchcock produced "Bon Voyage" (1941), and "Aventure Malgache" (1941)." [IIPA]

Hall, Kenneth E.
"Cabrera Infante and the Work of Alfred Hitchcock." World Literature Today: A Literary Quarterly of the University of Oklahoma, vol. 61 no. 4. 1987 Autumn. pp: 598-600.
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Handlin, O.
"Fear and laughter." The Atlantic v. 221 (January 1968) p. 116+

Havemann, Ernest.
"We Present Alfred Hitchcock." Theatre Arts 40:9 (1956:Sep) 27

Hawkins, Joan:
""See It from the Beginning": Hitchcock's Reconstruction of Film History."Hitchcock Annual [1999-2000] 13-29
"Examines the changes which filmmaker Alfred Hitchcock introduced in film spectatorship with the release of his 1960 film "Psycho." States that Hitchcock demanded exhibitors enforce the policy that once the film had started, nobody would be admitted inside the theater. Informs that a special manager training film sought to ensure that theater managers would know how to maximize the audience anticipation which Hitchcock so carefully fostered. Considers the explicit reasons why "Psycho" seemed to demand such a unique spectator policy. Imparts that Hitchcock effectively engaged both art cinema and horror conventions, by forcing spectators to view "Psycho" from beginning to end." [International Index to the Peforming Arts]

Hemmeter, Thomas.
"Hitchcock's Melodramatic Silence." Journal of Film and Video v48, n1-2 (Spring-Summer, 1996):32 (9 pages).
Application of silence by film director Alfred Hitchcock in his works is dualistic in nature. It reveals a kind of truth, and at the same time calls the truth into question. Hitchcock relies more on visual signs and images, than verbal language, to give melodramatic touches to his films. He preferred the pure films of the silent era. The silence in Hitchcock's films are not merely empty dialogues but actual silence or failure to respond verbally in horror or absurd scenes. His works reveal his distrust in conventional speech as a medium of communication.

Hemmeter, Thomas.
"Horror beyond the camera: cultural sources of violence in Hitchcock's mid-century America." Post Script, Wntr-Spring 2003 v22 i2 p7(13)
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Hesling, W.
"Classical Cinema and the Spectator." Literature/ Film Quarterly, vol. 15 no. 3. 1987. pp: 181-189.
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Higham, Charles
"Hitchcock's world." Film Quarterly v 16 no2 Winter 1962/1963. p. 3-16

Hitchcock, Alfred
"All about melodrama." Cahiers du Cinema no537 July/Aug 1999. p. 20-4
"Part of a special section on filmmaker Alfred Hitchcock. The text of Hitchcock's lecture on the theme of melodrama in motion pictures, which was delivered at Radio City Music Hall in New York on March 30, 1939, is reproduced. Apart from melodrama, the director also discusses a number of topics, including the distinction between action and dialog, the development of a plot, and objective and subjective suspense." [Art Index]

Hitchcock, Alfred
"Core of the movie, the chase." [interview]. The New York TimesMagazine (October 29 1950) p. 22-3+

Hitchcock, Alfred
"If it's Thursday, it must be Hitchcock." [interview at Chasen's restaurant, ed by S. Drake]. Holiday v. 57 (June 1976) p. 32-3+

Hitchcock, Alfred
"Mes souvenirs de l'ecran." Cahiers du Cinema no537 July/Aug 1999. p. 26-8
"Part of a special section on filmmaker Alfred Hitchcock. Excerpts from Hitchcock's memoirs about his involvement in the direction and production of motion pictures are presented. These appeared in the English magazine Film Weekly in 1936. The text provides a rich account of Hitchcock's cinema through anecdotes about the making of films and his thoughts on directing actors and making film adaptations of books." [Art Index]

Hitchcock, Alfred
My Own Methods." Sight and Sound 6:22 (1937:Summer) 61
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Alfred Hitchcock writes about films he has made and films he would like to make.

"Hitchcock's women on Hitchcock: a panel discussion with Janet Leigh, Tippi Hedren, Karen Black, Suzanne Pleshette, and Eva Marie Saint." (Panel Discussion) Literature-Film Quarterly v27, n2 (April, 1999):78 (12 pages).
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A panel of 5 actresses who have worked with Alfred Hitchcock discuss the filmaker's personality and treatment of women in his films. They believe Hitchcock was not a misogynist, and their overall perception of his character is that of a brilliant, dedicated, and lively man.

Houston, Penelope
"Figure in the carpet." Sight and Sound v 32 no4 Autumn 1963. p. 158-64

Houston, Penelope
"Hitchcockery" Sight and Sound v 37 no4 Autumn 1968. p. 188-9

Hunter, Evan.
"Me and Hitch." (Evan Hunter remembers Alfred Hitchcock) Sight and Sound v7, n6 (June, 1997):24 (14 pages).
"Ed McBain discusses his collaboration with Alfred Hitchcock on The Birds. McBain recounts his decision to make the film into a screwball comedy that gradually turns into stark terror. He provides an account of his experience on the set of the film and the changes that were made to its adaptation. He comments on his drafts for Hitchcock's next project, Marnie, and the events that led to his dismissal as Hitchcock's screenwriter." [Art Index]

Houston, Penelope
"Hitchcockery." Sight & Sound v. 37 no. 4 (Autumn 1968) p. 188-9

Hurley, Neil P.
"Inside the Hitchcock vision." America v. 134 (June 12 1976) p. 512-4

Hurley, Neil P.
"Neil Hurley on Sir Alfred Hitchcock." New Orleans Review 7:2 (1980:Summer) 190

Hurley, Neil P., S.J.
"Soul in Suspense: The Catholic/Jesuit Influences on Hitchcock." New Orleans Review, vol. 17 no. 4. 1990 Winter. pp: 44-52.

Hutchings, Peter J.
"Modernity: a film by Alfred Hitchcock." Senses of Cinema Issue No. 6, May 2000

"Interview with Alfred Hitchcock." INTERVIEW WITH ALFRED HITCHCOCK Monthly Film Bulletin 34:396/407 (1967) p.192
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Jacobs, Lewis.
"Film Directors at Work, I. Alfred Hitchcock; II. Frank Capra; III. Garson Kanin; IV. Fritz Lang." Theatre Arts 25 (1941) 40

Jhirad, Susan.
"Hitchcock's Women." Cineaste, vol. 13 no. 4. 1984. pp: 31-33.

Kane, Lawrence.
"The Shadow World of Alfred Hitchcock." Theatre Arts 33:4 (1949:May) 32

Kapsis, Robert E.
"Alfred Hitchcock: Auteur or Hack? How the Filmmaker Reshaped His Reputation among the Critics." Cineaste, vol. 14 no. 3. 1986. pp: 30-35.

Kapsis, Robert E.
"Hitchcock in the James Bond Era." Studies in Popular Culture, vol. 11 no. 1. 1988. pp: 64-79.

Kapsis, Robert E.
"Reputation Building and the Film Art World: The Case of Alfred Hitchock." Sociological Quarterly 1989 30(1): 15-35.
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"The change in Alfred Hitchcock's reputation from popular entertainer to distinguished auteur over the last 25 years is usually attributed to the efforts of some admiring European film figures. This article traces the reevaluation of Hitchcock's work beginning in the 1960's, but emphasizes, in addition to the role of sponsors, Hitchcock's own part in orchestrating the transformation. The author also examines other factors that might speed up, slow down, or undermine altogether the reputational process and explores the probable effects of Hitchcock's changing reputation on subsequent developments in the suspense thriller genre." [from ABC-CLIO America: History and Life]

Kapsis, Robert E.
"Hollywood Filmmaking and Reputation Building: Hitchcock's The Birds." Journal of Popular Film and Television, vol. 15 no. 1. 1987 Spring. pp: 5-15.

Kapsis, Robert E.
"Reputation Building and the Film Art World: The Case of Alfred Hitchcock." Sociological Quarterly v30, n1 (Spring, 1989):15 (21 pages).

Kehr, Dave
"Hitchcock is guilty (is Alfred Hitchcock an artist) Film Comment v 20 May/June 1984. p. 9-18

Kehr, Dave
"Hitchcock's riddle." Film Comment v 20 May/June 1984. p. 9-18

Kelly, David.
"Oedipus at Los Angeles: Hitch and the Tragic Muse." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 24:(no pagination). 2003 Jan-Feb

Kerbel, M.
"3-D or not 3-D." Film Comment v. 16 (November/December 1980) p. 11-20

Kerzoncuf, Alain; Bokor, N?ndor
"Alfred Hitchcock's Trailers." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 35, pp. (no pagination), Spring 2005.

Kirshner, Jonathan.
"Alfred Hitchcock and the Art of Research." PS: Political Science & Politics v29, n3 (Sept, 1996):511 (3 pages).
"Alfred Hitchcock's filmmaking techniques can be used to guide political scientists in making good research. In each of his films, Hitchcock focused on only a single concept which he expounded through clear communication. He also used only shots that would contribute to the story and promoted suspense and not surprise in his films. Similarly, political scientists should confine their research on a single topic, which they will expand in a clear and concise manner. They should avoid cluttering the study will unnecessary details and discuss their aim and hypotheses at the beginning of the study." [Expanded Academic Index]

Kerbel, Michael
"3-D or not 3-D." Film Comment v 16 Nov/Dec 1980. p. 11-20

Krohn, Bill
"Hitchcock-Dali, le reve mutile." Cahiers du Cinema no559 July/Aug 2001. p. 71

Landau, Idan
"Hierarchical structure in schematic representations: Aspects of meaning in the cinematic shot." Journal of Pragmatics. 1996 Dec. 26 (6): p. 737-766
The observation that the cinematic medium employs distinctive meaning-construction devices combined with the conviction that interpretation presupposes some preliminary cognitive processing, motivate attempts to explicate the former in terms of the latter. Focusing 1 device, the cinematic shot, this paper examines such an attempt against cinematic samples from the movies of Alfred Hitchcock. First, a hierarchical model of cinematic representation is developed, applying the basic level analysis of categorial organization, proposed by E. Rosch et al (1976), to the script model of stereotyped schematic representations, proposed by R. C. Schank and R. Abelson (1977). Second, a scrutiny of discourse-violations of the basic level in the cinematic exemplars is given a pragmatic account, shedding light on how these devices trigger meaning-construction in real-time viewing. A conclusion ensues, surveying some of the implications and consequences this study carries to both film criticism and cognitive theory. ((c) 1999 APA/PsycINFO, all rights reserved)

Lane, Anthony
"In love with fear." The New Yorker v 75 no23 Aug 16 1999. p. 80-6

Lang, Robert.
"Alfred Hitchcock's Rereleased Films, part one." (Conference report, Pace University, New York, June 13-15, 1986) Quarterly Review of Film and Video v11, n2 (August, 1989):91 (9 pages).

Lang, Robert.
"Alfred Hitchcock's Rereleased Films, part two. (Conference report, Pace University, New York, June 13-15, 1986) Quarterly Review of Film and Video v11, n2 (August, 1989):101 (7 pages).

Lauder, Robert E
"Alfred Hitchcock: a film maker of the conscience." America v 151 Aug 4/11 1984. p. 52-4

Lee, Sander H.
"Alfred Hitchcock: Misogynist or Feminist?" Post Script, vol. 10 no. 3. 1991 Summer. pp: 38-48.

Leff, Leonard J.
"Hitchcock and the Censors." World and I v14, n8 (August, 1999):108.
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Film director Alfred Hitchcock's skill at working around censorship issues is explored, along with the subtlety and mystery it lent to his works. Examples include scenes from 'Rebecca,' 'Rear Window,' 'Shadow of a Doubt,' and 'Psycho.'

Leitch, Thomas M.
"It's the Cold War, Stupid: An Obvious History of the Political Hitchcock." Literature-Film Quarterly v27, n1 (Jan, 1999):3 (13 pages).
UC users only
The director Alfred Hitchcock was thought to be apolitical, but his films, such as 'North by Northwest' and 'Marnie,' express structures of cold war logic. Hitchcock was under surveillance by the FBI for 3 months. Academics should not be telling students what everybody knows. They should be teaching things people do not already know.

Leitch, Thomas M.
"Narrative as a Way of Knowing: The Example of Alfred Hitchcock." The Centennial Review, vol. 30 no. 3. 1986 Summer. pp: 315-330.

Magny, Joel
"Encore un effort pour etre hitchcocko-hawksiens!" Cahiers du Cinema no517 Oct 1997. p. 14
"The current interest in the cinema of Alfred Hitchcock is the symptom of an era when knowledge of the how has replaced that of the work itself. This knowledge, obtained through the confidences of the filmmaker himself, is the secret of production. However, while Hitchcock had savoir-faire and a style, the question of the philosophy of his films and his effect on the public should be left to the professional thinkers." [Art Index]

Macksey, Richard.
"Four Emigre Directors: Shadows of Careers." MLN, vol. 98 no. 5. 1983 Dec. pp: 1187-1196.
Ernst Lubitsch, Fritz Lang, Max Ophuls, Alfred Hitchcock.

Madsen, Axel
"Who's afraid of Alfred Hitchcock? an interview of sorts with Ernest Lehman." Sight and Sound v 37 no1 Winter 1967/1968. p. 26-7
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McBride, Joseph
"Hitchcock: a defense and an update." Film Comment v 15 May 1979. p. 69-70

McBride, Joseph
"Alfred Hitchcock's Mary Rose: An Old Master's Unheard Cri deCoeur." (project for film version of play by Sir James M. Barrie) Cineaste v26, n2 (Spring, 2001):24.
UC users only
"Mary Rose is the most intriguing unfilmed project of Alfred Hitchcock's career. Hitchcock's dream project for over half a century, Mary Rose was intended to be a darker version of Sir James M. Barrie's whimsically haunting 1920 play about an enchanted island that acts as "a safe place" for lost children. Hitchcock worked on the adaptation with Jay Presson Allen, who produced two drafts of the script. Mary Rose would have taken Hitchcock's characteristic mingling of eroticism and death into dimensions beyond any he had explored in his films, but, ultimately, it proved too troubling for Universal Pictures, which would not permit him to make it. However, the director did manage to sneak some elements of Mary Rose into the opening scene of Family Plot, his final film." [Art Abstracts]

McGilligan, Patrick.
"Alfred Hitchcock: before the flickers" (includes early magazine stories from the Henley Telegraph) Film Comment v35, n4 (July, 1999):22.
UC users only
"In an excerpt from the forthcoming Darkness and Light: A Biography of Alfred Hitchcock, the writer discusses the director's early career at W. T. Henley's Telegraph Works in London, England. Henley's was a leader in the field of telegraph and electrical cables, and, after joining the firm in 1914, Hitchcock spent three years developing his draftsmanship and mechanical abilities in its Sales Section. His increasing interest in art led to his transfer to the advertising department in late 1917 or early 1918. While there, he was instrumental in establishing a company periodical called The Henley Telegraph, in which he published his first short stories. Hitchcock remained in the department until he left to work for the Famous Players Lasky film studio in 1921. Several of Hitchcock's short stories that were published in the company periodical are presented." [Art Index]

McNeill, David.
"Cohesion and Gesture." Discourse Processes: A Multidisciplinary Journal, vol. 16 no. 4. 1993 Oct-Dec. pp: 363-86.

Meola, Frank M.
"Hitchcock's Emersonian Edges." Hitchcock Annual [2000-2001] 23-46
"Examines some of Alfred Hitchcock's signature films of the American period in terms of the way they consider enduring American cultural and spiritual tendencies that were first and most powerfully articulated in the works of Ralph Waldo Emerson." [International Index to the Peforming Arts]

Millar, Gavin
"Hitchcock versus Truffaut." Sight and Sound v 38 no2 Spring 1969. p. 82-7
UC users only

Miller, Ann.
"Goddam!?! Blake and Mortimer Meet Hitchcock." French Studies Bulletin: A Quarterly Supplement vol. 67. 1998 Summer. pp: 1-4.

Miller, M.C.
"In memoriam--A.H. (1899-1980)." The New Republic v. 183 (July 261980) p. 27-31

Montagu, Ivor
"Working with Hitchcock." Sight and Sound v 49 no3 Summer 1980. p. 186-93
UC users only
A personal reminiscence by Ivor Montagu who was associate producer on "The Man Who Knew Too Much, The Thirty Nine Steps, Secret Agent" and "Sabotage"

Morgan, Jack.
Alfred Hitchcock's Juno and the Paycock." Irish University Review, vol. 24 no. 2. 1994 Fall-Winter. pp: 212-16

Morris, Christopher D.
"The Allegory of Seeing in Hitchcock's Silent Films." (Alfred Hitchcock) Film Criticism v22, n2 (Winter, 1997):27 (22 pages).
UC users only
"The writer interprets the silent films of Alfred Hitchcock as an allegory of the viewing process as inevitable error. Arguing that these films imply that humanity has the permanent delusion of believing that the visible world is real, he discusses the two ways in which they dramatize this human delusion, thus forming Hitchcock's allegory of seeing: Firstly, through the depiction of the world as "postal," in Derrida's sense of a network of signifiers that precede the human and ensure that the meaning of its messages never coincides with the intention of the sender or interpretation of the recipient; and secondly, through the misapprehensions of visual signs by viewers and characters. He then summarizes the contribution of deconstruction to the present debate in film theory, which places belief in the existence of a subjectivity determined to a large extent by a cultural environment that includes film on one side and, on the other, belief in a rational biological subject whose responses to film are to a large extent independent of culture." [Art Index]

Morrisson, Ian
"The Art of Murder." Images
"Before the "shower scene" in Psycho, Alfred Hitchcock had directed only three other sustained murder sequences. The vast majority of murders in Hitchcock's movies occur either off-screen, or they are as brief as the flash of a gun. The three prolonged sequences prior to Psycho include the stabbing of Crewe in Blackmail, the stabbing of Swann in Dial M for Murder, and the strangling of Miriam in Strangers on a Train."

Ness, Richard R.
"Hitchcock, Bergman, and the Divided Self." Hitchcock Annual 2002-2003. pgs. 181-203

Ngai, Sianne.
"Moody Subjects/Projectile Objects: Anxiety and Intellectual Displacement in Hitchcock,Heidegger, and Melville." Qui Parle: Literature, Philosophy, Visual Arts, History. 12(2):15-55. 2001

Nochimson, Martha P.
"Amnesia 'R' Us: The Retold Melodrama, Soap Opera, and the Representation of Reality." Film Quarterly vol. 50 no. 3. 1997 Spring. pp: 27-38.
Compares the treatment of the 'amnesia' storyline in film melodrama and tv soap opera (respectively, "Vertigo" and 'One life to live'), showing how tricks are played with the viewer's expectations of 'reality'.

Peary, Gerald.
"At home with Hitchcock." (Alfred Hitchcock) Washington Post v107 (Sun, Oct 7, 1984):L8, col 2, 48 col in.

Pechter, W.S.
"Hitchcock in retrospect." Commentary v. 62 (November 1976) p. 75-8

Peele, Stanton.
"Personality, Pathology, and the Act of Creation: The Case of Alfred Hitchcock." Biography: An Interdisciplinary Quarterly, vol. 9 no. 3. 1986 Summer. pp: 202-218.
"Recent biographies of Alfred Hitchcock-especially Spoto's (1983)-have emphasized the deterministic role of Hitchcock's emotional problems in his art. Such analyses of Hitchcock's personality and creativity touch on classic issues of the relationship between art and artist. However, any reduction of artistic themes like those in Hitchcock's films into terms of personal psychopathology is inadequate for apprehending artistic creation." [Periodicals Contents Index]

Perry, Dennis R.
"Bibliography of Scholarship Linking Alfred Hitchcock and Edgar Allan Poe." Hitchcock Annual 2000-2001, 163-73.
"Explains that based on the growing number of scholarly connections made between Edgar Allen Poe and Alfred Hitchcock, Poe is fast becoming recognized as perhaps the major single literary influence on Hitchcock's American films. Presents a bibliography of scholarship that links Hitchcock and Poe." [International Index to the Performing Arts]

Perilli, P.
"Alfred Hitchcock: A rear window on the Ego." L'Architettura v. 47 (February/March 2001) p. 153-60
"The work of Alfred Hitchcock is discussed. The writer highlights the finely tuned expressive method and aesthetic vision of this legendary filmmaker, for whom action comes first, closely followed by technique. He discusses the actors, actresses, dialogues, and settings of a number of Hitchcock's movies, including Rear Window, North By Northwest, and The Man Who Knew Too Much." [Art Index]

Phillips, Gene D.
"Hitchcock's Forgotten Films: The Twenty Teleplays." Journal of Popular Film and Television 1982 10(2): 73-76.
Alfred Hitchcock consistently directed television films from 1955-62 that paralleled the situations and themes found in his movies.

Pomerance, M.
"Hitchcock Quotes." Quarterly Review of Film and Video v. 23 no. 2 (2006) p. 139-54
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"The writer suggests five cases in which director Alfred Hitchcock employed "quotations" from other films. He states that his goal is both to consider some particular material in new light, and also to suggest to some degree the hidden riches to be found by watching Hitchcock rather than merely hearing the stories he narrates. He examines such "quotations" in Hitchcock's Vertigo from David Miller's Sudden Fear and from James Whale's Frankenstein, in Saboteur (1942) from Whale's Bride of Frankenstein, in Rebecca (1940) from F. W. Murnau's Sunrise, and in particular, a "quotation" in The Man Who Knew Too Much (1956) from Edward Dmytryk's Crossfire. He asserts that Hitchcock's quotations are a way of sharing with the viewer the original filmmaker's sense, now reconfigured and recontextualized to suffer augmentation and rebirth, and of offering his view of others' films." [Art Index]

Porter, H. C.
"Dial "H" for Hitchcock." Cambridge Review 76 (1954:Oct.-1955:June) p.47
UC users only

Pratley, Gerald
"Alfred Hitchcock's Working Credo." Films in Review 3:10 (1952:Dec.) 500

Pressler, Michael.
"Hitchcock and the Melodramatic Pattern." Chicago Review, vol. 35 no. 3. 1986 Spring. pp: 4-16.
UC users only

Roberts, John W.
"Survival Versus Salvation: The Conflicting Visions of Welles and Hitchcock." (Orson Welles, Alfred Hitchcock) Midwest Quarterly v32, n2 (Wntr, 1991):197 (14 pages).

Rothman, William.
"Hitchcock: Ten mysteries from the master of suspense." American Film v 9 Oct 1983. p. 81-6

Robinson, M.
"The Poetics of Camp in the Films of Alfred Hitchcock." Rocky Mountain Review of Language and Literature Vol. 54, No. 1 (2000), pp. 53-65

Roche, Catherine de la
"Conversation with Hitchcock." Sight and Sound 25:3 (1955/1956:Winter) p.157
UC users only

Rothman, William.
"The Villain in Hitchcock." Hitchcock Annual 2002-2003. pgs. 149-63

Raubicheck, Walter (ed.).
"Working with Hitchcock: A Collaborators' Forum with Patricia Hitchcock, Janet Leigh, Teresa Wright, and Eva Marie Saint." Hitchcock Annual2002-2003. pgs. 32-66

Russell, Lee
"Alfred Hitchcock." New Left Review 35 (1966:Jan./Feb.) 89

Russell, Lee
"Alfred Hitchcock." New Left Review 35 (1966:Jan./Feb.) p.89

Saada, Nicolas; Toubiana, Serge
"Alfred Hitchcock, portrait(s) de l'artiste en jeune homme." Cahiers du Cinema no537 July/Aug 1999. p. 18-19
"Part of a special section on filmmaker Alfred Hitchcock. An introduction to two texts written by Hitchcock during his "English" period: A lecture given at the Museum of Modern Art (MoMa), New York, in 1939; and extracts