| Description |
256 pages : illustrations, portraits ; 28 cm |
| Note |
Dialogue between Truffaut and Hitchcock. |
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Translation of Le cinéma selon Hitchcock. |
| Bibliography |
Bibliography: page 254. |
| Contents |
Childhood -- Behind prison bars -- "Came the dawn" -- Michael Balcon -- Woman to Woman -- Number Thirteen -- Introducing the future Mrs. Hitchcock -- A melodramatic shooting: The Pleasure Garden -- The Mountain Eagle -- The first true Hitchcock: The Lodger -- Creating a purely visual form -- The glass floor -- Handcuffs and sex -- Why Hitchcock appears in his films -- Downhill -- Easy Virtue -- The Ring and One-Round Jack -- The Farmer's Wife -- The Griffith influence -- Champagne -- The last silent movie: The Manxman -- Hitchcock's first sound film: Blackmail -- The Shuftan process -- Juno and the Paycock -- Why Hitchcock will never film Crime and Punishment -- What is suspense? -- Murder -- The Skin Game -- Rich and Strange -- Two innocents in Paris -- Number Seventeen -- Cats, cats everywhere -- Waltzes from Vienna -- The lowest ebb and the comeback |
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The Man Who Knew Too Much -- When Churchill was chief of police -- M -- From "The One Note Man" to the deadly cymbols -- Clarification and simplification -- The Thirty-nine Steps -- John Buchan's influence -- Understatement -- An old, bawdy story -- Mr. Memory -- Slice of life and slice of cake -- The Secret Agent -- You don't always need a happy ending -- What do they have in Switzerland? -- Sabotage -- The child and the bomb -- An example of suspense -- The Lady Vanishes -- The plausibles -- A wire from David O. Selznick -- The last British film: Jamaica Inn -- Some conclusions about the British period -- Rebecca: A Cinderella-like story -- "I've never received an Oscar" -- Foreign Correspondent -- Gary Cooper's mistake -- In Holland, windmills and rain -- The blood-stained tulip -- What's a MacGuffin? -- Flashback to The Thirty-nine Steps -- Mr. and Mrs. Smith -- "All actors are cattle" -- Suspicion -- The luminous glass of milk |
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Sabotage versus Saboteur -- A mass of ideas clutters up a picture -- Shadow of a Doubt -- Tribute to Thornton Wilder -- "The Merry Widow" -- An idealistic killer -- Lifeboat -- A microcosm of war -- Like a pack of dogs -- Return to London -- Modest war contribution: Bon Voyage and Adventure Malgache -- Return to America -- Spellbound -- Collaboration with Salvador Dali -- Nortorious -- "The Song of the Flame" -- The uranium MacGuffin -- Under surveillance by the FBI -- A film about the cinema -- The Paradine Case -- Can Gregory Peck play a British lawyer? -- An intricate shot -- Horny hands, like the devil! -- Rope: From 7:30 to 9:15 in one shot -- Clouds of spun glass -- Colors and shadows -- Walls that fade away -- Films must be cut -- How to make noises rise from the street -- Under Capricorn -- Infantilism and other errors in judgment -- Run for cover! -- "Ingrid, it's only a movie!" -- Stage Fright -- The Flashback the lied |
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The better the villian, the better the picture -- Spectacular comeback via Strangers on a Train -- A monopoly on the suspense genre -- The little man who crawled -- A bitchy wife -- I Confess -- A "barbaric sophisticate" -- The sanctity of confession -- Experience alone is not enough -- Fear of the police -- Story of a menage a trois -- Dial M for Murder -- Filming in 3-D -- The theater confines the action -- Rear Window -- The Kuleshov experiment -- We are all voyeurs -- Death of a small dog -- The size of the image has a dramatic purpose -- The surprise kiss versus the suspense kiss -- The Patrick Mahon case and the Dr. Crippen case -- To Catch a Thief -- Sex on the screen -- The Trouble with Harry -- The humor of understatement -- The Man Who Knew Too Much -- A knife in the back -- The clash of cymbals |
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The Wrong Man -- Absolute authenticity -- Vertigo -- The usual alternatives: suspense or surprise -- Necrophilia -- Kim Novak on the set -- Two projects that were never filmed -- A political suspense movie -- North by Northwest -- The importance of photographic documentation -- Dealing with time and space -- The practice of the absurd -- The body that came from nowhere -- Ideas in the middle of the night -- The longest kiss in screen history -- A case of pure exhibitionism -- Never waste space -- Screen imagery is make-believe -- Psycho -- Janet Leigh's brassiere -- Red herrings -- Directing the audience -- How Arbogast was killed -- A shower stabbing -- Stuffed birds -- How to get mass emotions -- Psycho: A film-maker's film |
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The Birds -- The elderly ornithologist -- The gouged-out eyes -- The girl in a gilded cage -- Improvisations -- The size of the image -- The scene that was dropped -- An emotional truck -- Electronic sounds -- Practical jokes -- Marnie: A fetishist love -- The Three Hostages, Mary Rose, and R.R.R.R. -- Torn Curtain -- The bus is the villian -- The scene in the factory -- Every film is a brand-new experience -- The rising curve -- The situation film versus the character film -- "I only read the London Times" -- A strictly visual mind -- Hitchcock a Catholic film-maker? -- A dream for the future: A film showing twenty-four hours in the life of a city |
| Subject |
Hitchcock, Alfred, 1899-1980.
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Motion pictue producers and directors -- Biography.
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| Added Author |
Hitchcock, Alfred, 1899-1980.
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