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Originally published in 1977 and long out of print, Maurice Yacowar's Hitchcock's British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock's "mature" period in Hollywood, from the late 1940s to the early 1960s, represented the director's best work. In this traditional auteurist examination of Hitchcock's early work, author Maurice Yacowar considers Hitchcock's British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films' verbal effects. Yacowar's readings remain compelling more than thirty years after they were written, and some-on Downhill, Champagne, and Waltzes from Vienna-are among the few extended interpretations of these films that exist. Alongside important works such as Murder , the first The Man Who Knew Too Much, Secret Agent, The Lady Vanishes, and Blackmail, readers will appreciate Yacowar's equal attention to lesser-known films like The Pleasure Garden, The Ring, and The Manxman. Yacowar dissects Hitchcock's precise staging and technical production to draw out ethical themes and metaphysical meanings of each film, while keeping a close eye on the source material, such as novels and plays, that Hitchcock used as the inspiration for many of his screenplays. Yacowar concludes with an overview of Hitchcock as auteur and an appendix identifying the director's appearances in these films. A foreword by Barry Keith Grant and a preface to the second edition from Yacowar complete this comprehensive volume. Anyone interested in Hitchcock, classic British cinema, or the history of film will appreciate Yacowar's accessible and often witty exploration of the director's early work.
Iconic, groundbreaking interviews of Alfred Hitchcock by film critic François Truffaut—providing insight into the cinematic method, the history of film, and one of the greatest directors of all time. In Hitchcock, film critic François Truffaut presents fifty hours of interviews with Alfred Hitchcock about the whole of his vast directorial career, from his silent movies in Great Britain to his color films in Hollywood. The result is a portrait of one of the greatest directors the world has ever known, an all-round specialist who masterminded everything, from the screenplay and the photography to the editing and the soundtrack. Hitchcock discusses the inspiration behind his films and the art of creating fear and suspense, as well as giving strikingly honest assessments of his achievements and failures, his doubts and hopes. This peek into the brain of one of cinema’s greats is a must-read for all film aficionados.
When Hitchcock's Films was first published, it quickly became known as a new kind of book on film and as a necessary text in the growing body of Hitchcock criticism. This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a critic--including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life and have remained deeply intertwined through the years. This revised edition also includes a new chapter on Marnie.
The body of a woman, Christine Clay (née Christina Gotobed) is discovered at the edge of the surf on a beach in Kent... A Shilling for Candles is a 1936 mystery novel by Josephine Tey (Elizabeth MacKintosh) about the investigation of the drowning of a film actress, known as Christine Clay. It is the second of Tey's five mysteries starring Inspector Alan Grant. The plot draws extensively on Tey's experience in working with actors in her play Richard of Bordeaux.
Hitchcock’s previously untold origin story. Alfred Hitchcock called The Lodger "the first true Hitchcock movie," the one that anticipated all the others. And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock himself. The First True Hitchcock focuses on the twelve-month period that encompassed The Lodger's production in 1926 and release in 1927, presenting a new picture of this pivotal year in Hitchcock's life and in the wider film world. Using fresh archival discoveries, Henry K. Miller situates Hitchcock's formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible export—film. The previously untold story of The Lodger's making in the London fog—and attempted remaking in the Los Angeles sun—is the story of how Hitchcock became Hitchcock.
A celebration of the San Francisco films of Alfred Hitchcock, this book examines the master director's familiarity with Northern California and how it greatly influenced his decision to use the Bay Area location in several of his landmark motion pictures. More importantly, this book shows how San Francisco was often the source of inspiration for many of these same cinema classics. The masterpieces that are examined are Shadow of a Doubt, Vertigo, The Birds, Suspicion, Psycho, and Family Plot. Hitchcock fans are taken on a journey around the Bay Area, experiencing cinematographic intrigue and learning about Bay Area history, lore, and the timeless elegance of San Francisco and its picturesque surroundings. Hundreds of historical and contemporary photos are included, with an emphasis on those buildings and businesses that no longer exist.--From publisher description.
IT'S ONLY A MOVIE is as close to an autobiography by Alfred Hitchcock that you could ever have. Drawn from years of interviews with her subject, his friends and the actors who worked with him on such classics as THE BIRDS, PSYCHO and REAR VIEW WINDOW, Charlotte Chandler has created a rich, complex, affectionate and honest picture of the man and his milieu. This is Hitchcock in his own voice and through the eyes of those who knew him better than anyone could.
Alfred Hitchcock called the silent "the purest form of cinema," and the ten silent films he directed between 1925 and 1929 reveal the young director's mature artistry. Hitchcock's silents have often been characterized as the work of a talented amateur, a young director practicing his craft during a pre-sound era of antiquated instruments and poor film techniques--the director experimented with myriad points of view, unique camera angles and movements, and special effects such as dissolves, blurriness, and violent cuts. These films, however, contain the first appearances of some of his greatest and most familiar techniques: the vertigo-inducing crowd scene, the symbolic use of inanimate objects, the manipulation of the audience's emotions, and the self-conscious, often macabre wit. This work discovers Hitchcock's early talent and skill through close readings of the films from The Pleasure Garden to the silent version of Blackmail, using shot-by-shot descriptions and interpretations. Each film's chapter includes technical information, a summary of the critical response from the film's release to the present, and detailed analysis of the camera techniques and themes Hitchcock uses.
Among the abundant Alfred Hitchcock literature, Hitchcock's Motifs has found a fresh angle. Starting from recurring objects, settings, character-types and events, Michael Walker tracks some forty motifs, themes and clusters across the whole of Hitchcock's oeuvre, including not only all his 52 extant feature films but also representative episodes from his TV series. Connections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this unique artist's work the depth, consistency and resonance that justifies Hitchcock's place as probably the best know film director ever. The title, the first book-length study of the subject, can be used as a mini-encyclopaedia of Hitchcock's motifs, but the individual entries also give full attention to the wider social contexts, hidden sources and the sometimes unconscious meanings present in the work and solidly linking it to its time and place.