《国际电影导演词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-2 DIRECTORS）FOURTH EDITION

DIRECTORS, 4 EDITION HILL Interview with A. Hunter, in Films and Filming(London), Octo- ' Walter Hill. ' an interview with L. Gross in Bomb. Winter 1993 Hill on Hawks, an interview with T. Davis, in Sight and S (London), Spring 1997. On HILL: book Cantero, Marcial, Walter Hill, Madrid, 1985 On hILL, articles- " Walter Hill, in Film Dope (London), March 198 Sragow, M, Dont Jesse James Me, in Sight and Sound (London), Rafferty, T, "The Paradoxes of Home: Three Films by Walter Hill, in Film Quarterly(Berkeley), Fall 1982 Sragow, M, "Hill,s Street Blues, in American Film(washington, D.C.), June 1984. Heuring, D," Red Heat-Cross-Culture Cop Caper, in American Cinematographer (Los Angeles), June 1988 Revue du Cinemalimage ef Son(Paris), June 1990 Roth, P A, The Virtue of Violence: The Dimensions of Develop. ment in Walter Hills The Warriors, in Journal of popula Culture. vol. 24. no. 3. 1990 Walter Hill,in CinemAction, January 1992. Solman, Gregory, ""At Home on the Range: Walter Hill, in Film Comment, March/April 1994. Walter hill Other films Established in the early 1970s as a writer of action movies(earlier he had ambitions to illustrate comic books ), Walter Hill went almost 68 The thomas fair (Jewison)(2nd noticed for his first two directorial ventures Not so with his third 969 Take the Money and Run(Allen)(asst-d) The Warriors reportedly occasioned gang fights in the United States 972 Hickey and Boggs( Culp)(sc); The Getaway(Peckinpah)(sc) while one British newspaper dubbed it"the film they mustn't show 1973 The Thief Who Came to Dinner(Yorkin)(sc); The Mackintosh here. Replete with highly stylized violence, The Warriors has been Man(Huston)(sc described by Hill as"a comic book rock ' n'roll version of the 1975 The Drowning Pool (Rosenberg)(co-sc) Xenophon story. It is a precise description: the movie takes the 1979 Alien(Scott)(co-pr Anabasis and adapts it to an appropriately mythical setting among the 986 Aliens( Cameron)(co-pr): Blue City(Manning)(co-SC, pr) street gangs of modern New York. The stranded Warriors fight their way home through the subways and streets of an extraordinary 1994 The Getaway(sc) fantasy city. This world, as so often in Hill,'s movies, is evacuated of any sense of the everyday, and is rendered with the use of the strong reds, yellows, and blues of comic book design. In its subway scenes Publications especially, colors leap from the screen much as, say, a Roy lichten- stein picture leaps from the canvas, its direct assault on our vision as basic as that of a comic strip. By HILL: articles- The pleasure of the movie lies in that style, transforming its much maligned violence into a kind of ritual dance. Given this transforma- Interview with A J. Silver and E Ward, in Movie(London), Win- tion, you could as well accuse Hill of celebrating gang warfare as you ter1978/79 could accuse Lichtenstein of condoning aerial combat in his paintin Making Alien, an interview with M. P. Carducci, in Cinefantastique Whaam! The fascination of hills a is that it evokes and (Oak Park, Illinois), no. 1, 1979 elaborates upon mythical worlds, in the case of The Warriors grounded Interview with M. Greco, in Film Comment (New York), May in ancient greece and in comics, though in his other movies more June 1980 often based in the cinema itself. thus driver eliminates orthodox Interview with Pat Broeske, in Films in Review(New York), Decem- characterization in favour of thriller archetypes: the Driver, the ber 1981 Detective, and the Girl, as the credits list them. They revolve around Dead End Streets, ' an interview with D. Chute, in Film Comment each other in a world of formally defined roles, roles made archetypal New York), July/August 1984 by movies themselves. The Long riders, in presenting a version of the

DIRECTORS, 4 HILL th EDITION 435 Walter Hill Other Films: 1968 The Thomas Crown Affair (Jewison) (2nd asst-d) 1969 Take the Money and Run (Allen) (asst-d) 1972 Hickey and Boggs (Culp) (sc); The Getaway (Peckinpah) (sc) 1973 The Thief Who Came to Dinner (Yorkin) (sc); The Mackintosh Man (Huston) (sc) 1975 The Drowning Pool (Rosenberg) (co-sc) 1979 Alien (Scott) (co-pr) 1986 Aliens (Cameron) (co-pr); Blue City (Manning) (co-sc, pr) 1992 Alien 3 (sc, pr) 1994 The Getaway (sc) Publications By HILL: articles— Interview with A. J. Silver and E. Ward, in Movie (London), Win￾ter 1978/79. ‘‘Making Alien,’’ an interview with M. P. Carducci, in Cinefantastique (Oak Park, Illinois), no. 1, 1979. Interview with M. Greco, in Film Comment (New York), May/ June 1980. Interview with Pat Broeske, in Films in Review (New York), Decem￾ber 1981. ‘‘Dead End Streets,’’ an interview with D. Chute, in Film Comment (New York), July/August 1984. Interview with A. Hunter, in Films and Filming (London), Octo￾ber 1984. ‘‘Walter Hill,’’ an interview with L. Gross, in Bomb, Winter 1993. ‘‘Hill on Hawks,’’ an interview with T. Davis, in Sight and Sound (London), Spring 1997. On HILL: book— Cantero, Marcial, Walter Hill, Madrid, 1985. On HILL: articles— ‘‘Walter Hill,’’ in Film Dope (London), March 1982. Sragow, M., ‘‘Don’t Jesse James Me,’’ in Sight and Sound (London), Summer 1982. Rafferty, T., ‘‘The Paradoxes of Home: Three Films by Walter Hill,’’ in Film Quarterly (Berkeley), Fall 1982. Sragow, M., ‘‘Hill’s Street Blues,’’ in American Film (Washington, D.C.), June 1984. Heuring, D., ‘‘Red Heat—Cross-Culture Cop Caper,’’ in American Cinematographer (Los Angeles), June 1988. Revue du Cinéma/Image et Son (Paris), June 1990. Roth, P. A., ‘‘The Virtue of Violence: The Dimensions of Develop￾ment in Walter Hill’s The Warriors,’’ in Journal of Popular Culture, vol. 24, no. 3, 1990. ‘‘Walter Hill,’’ in CinemAction, January 1992. Solman, Gregory, ‘‘At Home on the Range: Walter Hill,’’ in Film Comment, March/April 1994. *** Established in the early 1970s as a writer of action movies (earlier he had ambitions to illustrate comic books), Walter Hill went almost unnoticed for his first two directorial ventures. Not so with his third. The Warriors reportedly occasioned gang fights in the United States, while one British newspaper dubbed it ‘‘the film they mustn’t show here.’’ Replete with highly stylized violence, The Warriors has been described by Hill as ‘‘a comic book rock ‘n’ roll version of the Xenophon story.’’ It is a precise description: the movie takes the Anabasis and adapts it to an appropriately mythical setting among the street gangs of modern New York. The stranded Warriors fight their way home through the subways and streets of an extraordinary fantasy city. This world, as so often in Hill’s movies, is evacuated of any sense of the everyday, and is rendered with the use of the strong reds, yellows, and blues of comic book design. In its subway scenes especially, colors leap from the screen much as, say, a Roy Lichten￾stein picture leaps from the canvas, its direct assault on our vision as basic as that of a comic strip. The pleasure of the movie lies in that style, transforming its much￾maligned violence into a kind of ritual dance. Given this transforma￾tion, you could as well accuse Hill of celebrating gang warfare as you could accuse Lichtenstein of condoning aerial combat in his painting Whaam! The fascination of Hill’s cinema is that it evokes and elaborates upon mythical worlds, in the case of The Warriors grounded in ancient Greece and in comics, though in his other movies more often based in the cinema itself. Thus Driver eliminates orthodox characterization in favour of thriller archetypes: the Driver, the Detective, and the Girl, as the credits list them. They revolve around each other in a world of formally defined roles, roles made archetypal by movies themselves. The Long Riders, in presenting a version of the

HITCHCOCK DIRECTORS, 4 EDItION Jesse James story, traps its characters in their own movie mythology o that they even seem to be aware that they are playing out a sort of destiny born of the Western genre, a sense of fate which also imbues Hill,s other outstanding Western, Geronimo: An American Legend. Southern Comfort manipulates and undermines the war-movie ideol ogy of the small military group, while 48 Hrs. pursues its unstoppable and richly entertaining action in precisely the fashion of a Don Siegel cop movie-Madigan, say, or Dirty Harry. It is as if Hills project to tour the popular genres, and although he made a sequence of po films in the latter half of the 1980s, in 1993 Geronimo triumphantly demonstrated that he remains one of the most intelligent genre directors in the modern cinema. This heralded something of a resur gence in the quality of his work, if not in commercial success, with Vild Bill and Last Man Standing(a version of Kurosawa's Yojimbo) demonstrating his continuing grasp of genre conventions and narra remains highly skilled in the use of chase and confrontation, adept at the montage methods so central to action- movie tension, while offering us not a"reality"but a distillation of the rules of the genre game. In his films we are witness to the pleasurable an experience, a self-conscious evocation of genre but without the knowing, postmodern wink which often attends such exercises. Hill manages to take the genre seriously and to reflect upon it, in Wild Bill even to the reflexive point at which Bill Hickock is represented as both victim and product of his own enmything. nevitably such immersion in popular genre conventions, however skilled, risks critical opprobrium. Although Geronimo has deservedly received its share of positive comment-in part, of course, because it treats its Native Americans with more sensitivity than has generally been the case in genre cinema-The Warriors, Southern Comfort, 48 Alfred Hitchcock Hrs., and Last Man Standing. have all been dismissed as shallow and morally suspect, lacking in the"seriousness"considered necessary Ministry of Information, 1944: directed first film in color, Rope o redeem their almost exclusive focus upon action. This, however, is 948; producer and host, Alfred Hitchcock Presents(The Alfred to miss the real pleasures of Hill's cinema, its visual power, its Hitchcock Hour from 1962), for TV, 1955-65. Awards: Irving narrative force, and its absorbing concern with myth-making and Thalberg Academy Award, 1968; Chevalier de la Legion d'Honneur myth-breaking. These, too, are qualities to which the label"serious 1971: Commander of the Order of Arts and Letters, france, 1976 may properly be applied Life Achievement Award, American Film Institute, 1979: Honorary Doctorate, University of Southern California; Knight of the Legion of 一 Andrew Tudor Honour of the Cinematheque Francais: knighted, 1980. Died: Of kidney failure, in Los Angeles, 29 April 1980 HITCHCOCK. Alfred Films as director: Nationality: British. Born: Alfred Joseph Hitchcock in Leytonstone, 1922 Number Thirteen(or Mrs. Peabody)(incomplete) London, 13 August 1899, became U.S. citizen, 1955. Education: 1923 Always Tell Your wife(Croise; completed d) Salesian College, Battersea, London, 1908: St. Ignatius College. 1926 The Pleasure Garden(irrgarten der Leidenschafn); The Moun Stamford Hill, London, 1908-13; School of Engineering and naviga- tain Eagle(Der Bergadler; Fear o'God); The Lodger; A tion, 1914; attended drawing and design classes under eJ. Sullivan, Story of the London Fog(The Case of Jonathan Drew) London University, 1917. Family: Married Alma Reville, 2 Decem- (+co-Sc, bit role as man in newsroom, and onlooker during ber 1926, daughter Patricia born 1928. Career: Technical clerk, w.t. Henley Telegraph Co., 1914-19: title-card designer for Famous 1927 Downhill(When Boys Leave Home): Easy Virtue; The Ring Players-Lasky at Islington studio, 1919: scriptwriter and assistant director, from 1922; directed two films for producer Michael Balcon 1928 The Farmer's Wife(+sc): Champagne(+adapt); The Manxman Germany, 1925; signed with British International Pictures as 1929 Blackmail(+ adapt, bit role as passenger or )(silent director, 1927; directed first British film to use synchronized sound version also made); Juno and the Paycock Blackmail, 1929: signed with Gaumont-British Studios, 1933; moved Mary boyle) to America to direct Rebecca for Selznick International Studios, 1930 Elstree Calling(Brunel; d after Brunel dismissed, credit for decided to remain. 1939: returned to Britain to make short films sketches and other interpolated items"): Murder(Mary 436

HITCHCOCK DIRECTORS, 4th EDITION 436 Jesse James story, traps its characters in their own movie mythology so that they even seem to be aware that they are playing out a sort of destiny born of the Western genre, a sense of fate which also imbues Hill’s other outstanding Western, Geronimo: An American Legend. Southern Comfort manipulates and undermines the war-movie ideol￾ogy of the small military group, while 48 Hrs. pursues its unstoppable and richly entertaining action in precisely the fashion of a Don Siegel cop movie—Madigan, say, or Dirty Harry. It is as if Hill’s project is to tour the popular genres, and although he made a sequence of poor films in the latter half of the 1980s, in 1993 Geronimo triumphantly demonstrated that he remains one of the most intelligent genre directors in the modern cinema. This heralded something of a resur￾gence in the quality of his work, if not in commercial success, with Wild Bill and Last Man Standing (a version of Kurosawa’s Yojimbo) demonstrating his continuing grasp of genre conventions and narra￾tive technique. He remains highly skilled in the use of chase and confrontation, adept at the montage methods so central to action￾movie tension, while offering us not a ‘‘reality’’ but a distillation of the rules of the genre game. In his films we are witness to the enmything of characters, if that neologism is not too pompous for so pleasurable an experience, a self-conscious evocation of genre but without the knowing, postmodern wink which often attends such exercises. Hill manages to take the genre seriously and to reflect upon it, in Wild Bill even to the reflexive point at which Bill Hickock is represented as both victim and product of his own enmything. Inevitably such immersion in popular genre conventions, however skilled, risks critical opprobrium. Although Geronimo has deservedly received its share of positive comment—in part, of course, because it treats its Native Americans with more sensitivity than has generally been the case in genre cinema—The Warriors, Southern Comfort, 48 Hrs., and Last Man Standing. have all been dismissed as shallow and morally suspect, lacking in the ‘‘seriousness’’ considered necessary to redeem their almost exclusive focus upon action. This, however, is to miss the real pleasures of Hill’s cinema, its visual power, its narrative force, and its absorbing concern with myth-making and myth-breaking. These, too, are qualities to which the label ‘‘serious’’ may properly be applied. —Andrew Tudor HITCHCOCK, Alfred Nationality: British. Born: Alfred Joseph Hitchcock in Leytonstone, London, 13 August 1899, became U.S. citizen, 1955. Education: Salesian College, Battersea, London, 1908; St. Ignatius College, Stamford Hill, London, 1908–13; School of Engineering and Naviga￾tion, 1914; attended drawing and design classes under E.J. Sullivan, London University, 1917. Family: Married Alma Reville, 2 Decem￾ber 1926, daughter Patricia born 1928. Career: Technical clerk, W.T. Henley Telegraph Co., 1914–19; title-card designer for Famous Players-Lasky at Islington studio, 1919; scriptwriter and assistant director, from 1922; directed two films for producer Michael Balcon in Germany, 1925; signed with British International Pictures as director, 1927; directed first British film to use synchronized sound, Blackmail, 1929; signed with Gaumont-British Studios, 1933; moved to America to direct Rebecca for Selznick International Studios, decided to remain, 1939; returned to Britain to make short films for Alfred Hitchcock Ministry of Information, 1944; directed first film in color, Rope, 1948; producer and host, Alfred Hitchcock Presents (The Alfred Hitchcock Hour from 1962), for TV, 1955–65. Awards: Irving Thalberg Academy Award, 1968; Chevalier de la Légion d’Honneur, 1971; Commander of the Order of Arts and Letters, France, 1976; Life Achievement Award, American Film Institute, 1979; Honorary Doctorate, University of Southern California; Knight of the Legion of Honour of the Cinématheque Français; knighted, 1980. Died: Of kidney failure, in Los Angeles, 29 April 1980. Films as Director: 1922 Number Thirteen (or Mrs. Peabody) (incomplete) 1923 Always Tell Your Wife (Croise; completed d) 1926 The Pleasure Garden (Irrgarten der Leidenschaft); The Moun￾tain Eagle (Der Bergadler; Fear o’ God); The Lodger; A Story of the London Fog (The Case of Jonathan Drew) (+ co-sc, bit role as man in newsroom, and onlooker during Novello’s arrest) 1927 Downhill (When Boys Leave Home); Easy Virtue; The Ring (+ sc) 1928 The Farmer’s Wife (+ sc); Champagne (+ adapt); The Manxman 1929 Blackmail (+ adapt, bit role as passenger on ‘‘tube’’) (silent version also made); Juno and the Paycock (The Shame of Mary Boyle) 1930 Elstree Calling (Brunel; d after Brunel dismissed, credit for ‘‘sketches and other interpolated items’’); Murder (Mary

DIRECTORS, 4 EDITION HITCHCOCK Sir John greift ein!)(+ co-adapt, bit role as passerby)An Spanish Jade(robertson and Geraghty)(inter-titles des): ( short) + co-Sc 1923 Woman to Woman( Cutts)(co-Sc, asst-d, art-d, ed); The White 1932 Rich and Strange (East of shanghai)(+ cO-sc): Number Shadow(White Shadows)(Cutts)(art-d, ed) Seventeen(+ co-sc) 1924 The Passionate Adventure(Cutts)(co-sc, asst-d, art-d); The 1933 Waltzes from Vienna (Strauss's Great Waltz: The great Prudes Fall( Cutts)(asst-d art-d) 1925 The Blackguard(Die Prinzessin und der Geiger)(Cutts) 934 The man who knew too much (asst-d, art-d) 1935 The Thirty-nine Steps(+ bit role as passerby) 1932 Lord Camber's Ladies(Levy)(pr) 1936 Secret Agent; Sabotage(The Woman Alone) 1940 The House across the Bay(mayo)(d add'l scenes); Men of the 1937 Young and Innocent(The Girl Was Young)(+ bit as photogra- Lightship(MacDonald, short)(reediting, dubbing of U.S pher outside courthouse) version) 1938 The lady vanishes(+bit role as man at railway station 941 Target for Tonight(Watt)(supervised reediting of U.S. version) 939 Jamaica Inn 1960 The Gazebo(Marshall)(voice on telephone telling Glenn 1940 Rebecca ( bit role as man outside phone booth); Foreign Ford how to dispose of corpse Correspondent (+ bit role 1963 The Directors(pr: Greenblatt)(appearance) 1941 Mr and Mrs. Smith(+ bit role as passerby ) Suspicion 1970 Makin'It(Hartog)(documentary appearance from early thirties) 1942 Saboteur(+ bit role as man by newsstand) 1977 Once upon a Time.. Is Now(Billington, for TV)(role as 1943 Shadow of a Doubt(+ bit role as man playing cards on train) interviewee) 1944 Life Boat (+ bit role as man in""advertisement); Bon Voyage(short); Aventure Malgache(The Malgache Adven- ture)(short) Publications 1945 Spellbound ( bit role as man in elevator) 1946 Notorious ( story, bit role as man drinking champagne) By HITCHCOCK: book 1947 The Paradine Case(+ bit role as man with cello) 1948 Rope (+ bit role as man crossing street) Le Cinema selon Hitchcock, with Francois Truffaut, Paris, 1966 1949 Under Capricorn; Stage Fright(+ bit role as passerby) published as Hitchcock, New York, 1985 1951 Strangers on a Train ( bit role as man boarding train with cello) By HITCHCOCK: articles- 1953 1 Confess(+ bit role as man crossing top of flight of steps) 1954 Dial M for Murder(+ bit role as man in school reunion dinner "My Own Methods, "in Sight and Sound (London), Summer 1937 photo); Rear Window(+ bit role as man winding clock); To "On Suspense and Other Matters, "in Films in Review(New York), Catch a Thief(+bit role as man at back of bus ) The trouble with Harry ( bit role as man walking past exhibition nterview with Claude Chabrol, in Cahiers du Cinema(Paris) 1955 The Man Who Knew Too Much(+ bit role as man watchin February 1955 acrobats) Interview with Catherine de la roche, in Sight and Sound (London), 1956 The Wrong Man(+intro appearance) Winter 1955/56 957 Vertigo(+ bit role as passerby) "Rencontre avec Alfred Hitchcock, with Francois Truffaut, in 1959 North by northwest(+ bit role as man who misses bus Cahiers du Cinema(Paris), September 1956 960 Psycho (+ bit role as man outside realtors office) 1963 The Birds ( bit role as m Alfred Hitchcock Talking, in Films and Filming(London) July 1959 1964 Marnie(+ bit role as man in hotel corridor Interview with lan Cameron and V f. Perkins, in Movie (london) 1966 Torn Curtain(+ bit role as man in hotel lounge with infant) 6 January 1963. 1969 Topaz(+ bit role as man getting out of wheelchair) 972 Frenzy(+ bit role as man in crowd listening to speech) Hitchcock on Style, in Cinema(Beverly Hills), August/Septem- ber 1963 1976 Family Plot ( bit role as silhouette on office window) Rear window in Take One(Montreal), November/December 1968 Alfred Hitchcock. The german Years an interview with B Thomas, in Action(Los Angeles), January/February 1973 Other films Hitchcock, transcript of address to Film Society of Lincoln Center, 29 April 1974, in Film Comment(New York), July/August 1974. 1920 The Great Day(Ford)(inter-titles des); The Call of Youth " Hitchcock, an interview with Andy Warhol, in Inter/View(New (Ford)(inter-titles des) York), September 1974 1921 The Princess of New York(Crisp)(inter-titles des): Appea Surviving, an interview with John Taylor, in Sight and Sound ances( Crisp)(inter-titles des); Dangerous Lies(Powell) (London ). Summer 1977. (inter-titles des ): The Mystery Road(Powell)(inter-title des ); Beside the Bonnie Brier Bush(The Bonnie Brier On HITCHCOCK: books- Bush)( Crisp)(inter-titles des) 1922 Three Live Ghosts(Fitzmaurice)(inter-titles des): Perpetua Amengual, Barthelemy, and Raymond Borde, Alfred Hitchcock (Love's Boomerang)(Robertson and Geraghty)(inter-titles Paris. 1957. des): The Man from Home( Fitzmaurice)(inter-titles des): Rohmer, Eric, and Claude Chabrol, Hitchcock, Paris, 1957 437

DIRECTORS, 4 HITCHCOCK th EDITION 437 Sir John greift ein!) (+ co-adapt, bit role as passerby) An Elastic Affair (short) 1931 The Skin Game (+ co-sc) 1932 Rich and Strange (East of Shanghai) (+ co-sc): Number Seventeen (+ co-sc) 1933 Waltzes from Vienna (Strauss’s Great Waltz; The Great Waltz) 1934 The Man Who Knew Too Much 1935 The Thirty-nine Steps (+ bit role as passerby) 1936 Secret Agent; Sabotage (The Woman Alone) 1937 Young and Innocent (The Girl Was Young) (+ bit as photogra￾pher outside courthouse) 1938 The Lady Vanishes (+ bit role as man at railway station) 1939 Jamaica Inn 1940 Rebecca (+ bit role as man outside phone booth); Foreign Correspondent (+ bit role as man reading newspaper) 1941 Mr. and Mrs. Smith (+ bit role as passerby); Suspicion 1942 Saboteur (+ bit role as man by newsstand) 1943 Shadow of a Doubt (+ bit role as man playing cards on train) 1944 Life Boat (+ bit role as man in ‘‘Reduco’’ advertisement); Bon Voyage (short); Aventure Malgache (The Malgache Adven￾ture) (short) 1945 Spellbound (+ bit role as man in elevator) 1946 Notorious (+ story, bit role as man drinking champagne) 1947 The Paradine Case (+ bit role as man with cello) 1948 Rope (+ bit role as man crossing street) 1949 Under Capricorn; Stage Fright (+ bit role as passerby) 1951 Strangers on a Train (+ bit role as man boarding train with cello) 1953 I Confess (+ bit role as man crossing top of flight of steps) 1954 Dial M for Murder (+ bit role as man in school reunion dinner photo); Rear Window (+ bit role as man winding clock); To Catch a Thief (+ bit role as man at back of bus); The Trouble with Harry (+ bit role as man walking past exhibition) 1955 The Man Who Knew Too Much (+ bit role as man watching acrobats); 1956 The Wrong Man (+ intro appearance) 1957 Vertigo (+ bit role as passerby) 1959 North by Northwest (+ bit role as man who misses bus) 1960 Psycho (+ bit role as man outside realtor’s office) 1963 The Birds (+ bit role as man with two terriers) 1964 Marnie (+ bit role as man in hotel corridor) 1966 Torn Curtain (+ bit role as man in hotel lounge with infant) 1969 Topaz (+ bit role as man getting out of wheelchair) 1972 Frenzy (+ bit role as man in crowd listening to speech) 1976 Family Plot (+ bit role as silhouette on office window) Other Films: 1920 The Great Day (Ford) (inter-titles des); The Call of Youth (Ford) (inter-titles des) 1921 The Princess of New York (Crisp) (inter-titles des); Appear￾ances (Crisp) (inter-titles des); Dangerous Lies (Powell) (inter-titles des); The Mystery Road (Powell) (inter-titles des); Beside the Bonnie Brier Bush (The Bonnie Brier Bush) (Crisp) (inter-titles des) 1922 Three Live Ghosts (Fitzmaurice) (inter-titles des); Perpetua (Love’s Boomerang) (Robertson and Geraghty) (inter-titles des); The Man from Home (Fitzmaurice) (inter-titles des); Spanish Jade (Robertson and Geraghty) (inter-titles des); Tell Your Children (Crisp) (inter-titles des) 1923 Woman to Woman (Cutts) (co-sc, asst-d, art-d, ed); The White Shadow (White Shadows) (Cutts) (art-d, ed) 1924 The Passionate Adventure (Cutts) (co-sc, asst-d, art-d); The Prude’s Fall (Cutts) (asst-d, art-d) 1925 The Blackguard (Die Prinzessin und der Geiger) (Cutts) (asst-d, art-d) 1932 Lord Camber’s Ladies (Levy) (pr) 1940 The House across the Bay (Mayo) (d add’l scenes); Men of the Lightship (MacDonald, short) (reediting, dubbing of U.S. version) 1941 Target for Tonight (Watt) (supervised reediting of U.S. version) 1960 The Gazebo (Marshall) (voice on telephone telling Glenn Ford how to dispose of corpse) 1963 The Directors (pr: Greenblatt) (appearance) 1970 Makin’ It (Hartog) (documentary appearance from early thirties) 1977 Once upon a Time . . . Is Now (Billington, for TV) (role as interviewee) Publications By HITCHCOCK: book— Le Cinéma selon Hitchcock, with François Truffaut, Paris, 1966; published as Hitchcock, New York, 1985. By HITCHCOCK: articles— ‘‘My Own Methods,’’ in Sight and Sound (London), Summer 1937. ‘‘On Suspense and Other Matters,’’ in Films in Review (New York), April 1950. Interview with Claude Chabrol, in Cahiers du Cinéma (Paris), February 1955. Interview with Catherine de la Roche, in Sight and Sound (London), Winter 1955/56. ‘‘Rencontre avec Alfred Hitchcock,’’ with François Truffaut, in Cahiers du Cinéma (Paris), September 1956. ‘‘Alfred Hitchcock Talking,’’ in Films and Filming (London), July 1959. Interview with Ian Cameron and V.F. Perkins, in Movie (London), 6 January 1963. ‘‘Hitchcock on Style,’’ in Cinema (Beverly Hills), August/Septem￾ber 1963. ‘‘Rear Window,’’ in Take One (Montreal), November/December 1968. ‘‘Alfred Hitchcock: The German Years,’’ an interview with B. Thomas, in Action (Los Angeles), January/February 1973. ‘‘Hitchcock,’’ transcript of address to Film Society of Lincoln Center, 29 April 1974, in Film Comment (New York), July/August 1974. ‘‘Hitchcock,’’ an interview with Andy Warhol, in Inter/View (New York), September 1974. ‘‘Surviving,’’ an interview with John Taylor, in Sight and Sound (London), Summer 1977. On HITCHCOCK: books— Amengual, Barthélémy, and Raymond Borde, Alfred Hitchcock, Paris, 1957. Rohmer, Eric, and Claude Chabrol, Hitchcock, Paris, 1957

HITCHCOCK DIRECTORS, 4 EDItION Bogdanovich, Peter, The Cinema of Alfred Hitchcock, New York, 1962. Naremore, James, North by Northwest: Alfred Hitchcock, Director, Perry, George, The Films of Alfred Hitchcock, London, 1965 Brunswick, New Jersey, 1993 Wood, Robin, Hitchcock's Films, London, 1965; published as Hitch- Sloan, Jane, Alfred Hitchcock: A Guide to References and Sources, cocks Films Revisited. New York. 1989 New York. 1993. Douchet, Jean, Alfred Hitchcock, Paris, 1967 Arginteanu, Judy, The Movies of Alfred Hitchcock, Minneapolis, 1994 imsolo, Noel, Alfred Hitchcock, Paris, 1969 Gottlieb, Sidney, editor, Hitchcock on Film: Selected Writings and Taylor, John Russell, Hitch, New York, 1978. Interviews, Berkeley, California, 199 Bellour, Raymond, L'Analyse du film, Paris, 1979 Sloan, Jane E, Alfred Hitchcock: A Filmography and bibliography Fieschi. J -A.. and others. Hitchcock. Paris. 1981 Berkeley, 1995 Hemmeter, Thomas M, Hitchcock the Stylist, Ann Arbor, Michi Boyd, David, editor, Perspectives on Alfred Hitchcock, New York. 1995 Bazin, Andre, The Cinema of Cruelty: From Buriuel to Hitchcock Rebello, Stephen, Alfred Hitchcock and the Making of psycho, New New York, 198 York. 1998 Narboni, Jean, editor, Alfred Hitchcock, Paris, 1982. Samuels. Robert, Hitchcocks Bi-Textuality: Lacan, Feminisms, and Rothman, william, Hitchcock-The Murderous Gaze, Cambridge Queer Theory, Albany, New York, 1998 Massachusetts. 1982. Freedman, Jonathan, and richard Millington, editors Hitchcock's Spoto, Donald, The Dark Side of Genius: The Life of Alfred Hitch America. New York, 1999 cock. New York. 1982. Auiler. Dan Hitchcocks Notebooks: An Authorized and lllustrated Weis, Elisabeth, The Silent Scream: Alfred Hitchcock's Sound Track Look inside the Creative Mind of Alfred Hitchcock, New York, 1999 Rutherford, New Jersey, 1982. Belton, John, Cinema Stylists, Metuchen, New Jersey, 1983 On HITCHCoCK. articles- Phillips, Gene D, Alfred Hitchcock, Boston, 1984 Douchet, Jean, Alfred Hitchcock, Paris, 1985 Pratley, Gerald, ""Alfred Hitchcocks Working Credo, in Films in Deutelbaum, Marshall, and Leland Poague, A Hitchcock Reader. Review(New York), December 1952. "Hitchcock Issue of Cahiers du Cinema(Paris), October 1953 Hogan, David J, Dark Romance: Sexuality in the Horror Film, May, Derwent, in Sight and Sound(London), October/December 1954 Jefferson, North Carolina, 1986 Bazin, Andre. ""Alfred Hitchcock. in Radio, Cinema, Televisio Humphries, Patrick, The Films of Alfred Hitchcock, Greenwich, (Paris), 23 January 1955. Connecticut. 1986 Sarris. Andrew *The Trouble with Hitchcock. in Film Culture Kloppenburg, Josef, Die Dramaturgische Funktion der Musik in (New York), Winter 1955 Filmen Alfred Hitchcocks, Munich, 1986 Hitchcock Issue of Cahiers du Cinema(Paris), August/Septem- Ryall, Tom, Alfred Hitchcock and the British Cinema, London, 1986 ber1956. Sinyard, Neil, The Films of Alfred Hitchcock, London, 1986 Pett, John, "A Master of Suspense, in Films and Filming (London), Leff, Leonard J, Hitchcock and Selznick: The Rich and Strange November and December 1959 Collaboration of Alfred Hitchcock and David O. Selznick in Cameron, Ian,""Hitchcock and the Mechanics of Suspense, ""in Hollywood. New York, 1987 Movie(London), October 1962. Modleski, Tania, The Women Who Knew Too Much: Hitchcock and Higham, Charles, ""Hitchcocks World, ' in Film Quarterly(Berke Feminist Theory. New York, 1988. ley), December/January 1962/63 Brill, Linda, The Hitchcock romance: Love and irony in Hitchcock Houston, Penelope, The Figure in the Carpet, in Sight and Sound Films, Princeton, New Jersey, 1988 (London), Autumn 1963 Leitch, Thomas M, Find the Director and Other Hitchcock Games, Truffaut, Francois, " Skeleton Keys, in Film Culture(New York), Athens, Georgia, 1991 Raubicheck, Walter, and Walter Srebnick, editors, Hitchcock's Cameron, Ian, and Richard Jeffrey, ""The Universal Hitchcock, " in Rereleased Films: From Rope to Vertigo, Detroit, 1991 Movie(ondon), Spring 1965 Sharif, Stefan, Alfred Hitchcock's High Vernacular: Theory and "An Alfred Hitchcock Index, ' in Films in Review(New York) Practice. New York, 1991 inler, Joel w, Hitchcock in Hollywood, New York, 1992 Sonbert, Warren, " Alfred Hitchcock: Master of Morality, in Film Kapsis, Robert E, Hitchcock: The Making of a Reputation, Chi- Culture(New York), Summer 1966 Lightman, Herb, Hitchcock Talks about Light, Camera, Action, Price. Theodore. Hitchcock and Homosexuality His 50-Year Obses American Cinematographer(Hollywood), May 1967. sion with Jack the Ripper and the Superbitch Prostitute, Metuchen, Braudy, Leo, "Hitchcock, Truffaut, and the Irresponsible Audi New Jersey, 1992 ence, in Film Quarterly(Berkeley), Summer 1968 Spoto, Donald, The Art of Alfred Hitchcock: Fifty Years of His Motion Houston, Penelope, "" Hitchcockery, in Sight and Sound (London), Corber, Robert J, In the Name of National Security: Hitchcock, Millar, Gavin,"Hitchcock versus Truffaut, in Sight and Sound Homophobia, and the Political Construction of Gender in Post (London), Spring 1969 war America. Durham. North Carolina. 1993 Durgnat, Raymond, The Strange Case of Alfred Hitchcock, in Hurley, Neil P, Soul in Suspense: Hitchcock's Fright and Delight. Films and Filming(London), February 1970 through Nove Metuchen, New Jersey, 1993 197 438

HITCHCOCK DIRECTORS, 4th EDITION 438 Bogdanovich, Peter, The Cinema of Alfred Hitchcock, New York, 1962. Perry, George, The Films of Alfred Hitchcock, London, 1965. Wood, Robin, Hitchcock’s Films, London, 1965; published as Hitch￾cock’s Films Revisited, New York, 1989. Douchet, Jean, Alfred Hitchcock, Paris, 1967. Simsolo, Noel, Alfred Hitchcock, Paris, 1969. Taylor, John Russell, Hitch, New York, 1978. Bellour, Raymond, L’Analyse du film, Paris, 1979. Fieschi, J.-A., and others, Hitchcock, Paris, 1981. Hemmeter, Thomas M., Hitchcock the Stylist, Ann Arbor, Michi￾gan, 1981. Bazin, Andre, The Cinema of Cruelty: From Buñuel to Hitchcock, New York, 1982. Narboni, Jean, editor, Alfred Hitchcock, Paris, 1982. Rothman, William, Hitchcock—The Murderous Gaze, Cambridge, Massachusetts, 1982. Spoto, Donald, The Dark Side of Genius: The Life of Alfred Hitch￾cock, New York, 1982. Weis, Elisabeth, The Silent Scream: Alfred Hitchcock’s Sound Track, Rutherford, New Jersey, 1982. Belton, John, Cinema Stylists, Metuchen, New Jersey, 1983. Phillips, Gene D., Alfred Hitchcock, Boston, 1984. Douchet, Jean, Alfred Hitchcock, Paris, 1985. Deutelbaum, Marshall, and Leland Poague, A Hitchcock Reader, Ames, Iowa, 1986. Hogan, David J., Dark Romance: Sexuality in the Horror Film, Jefferson, North Carolina, 1986. Humphries, Patrick, The Films of Alfred Hitchcock, Greenwich, Connecticut, 1986. Kloppenburg, Josef, Die Dramaturgische Funktion der Musik in Filmen Alfred Hitchcocks, Munich, 1986. Ryall, Tom, Alfred Hitchcock and the British Cinema, London, 1986. Sinyard, Neil, The Films of Alfred Hitchcock, London, 1986. Leff, Leonard J., Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood, New York, 1987. Modleski, Tania, The Women Who Knew Too Much: Hitchcock and Feminist Theory, New York, 1988. Brill, Linda, The Hitchcock Romance: Love and Irony in Hitchcock’s Films, Princeton, New Jersey, 1988. Leitch, Thomas M., Find the Director and Other Hitchcock Games, Athens, Georgia, 1991. Raubicheck, Walter, and Walter Srebnick, editors, Hitchcock’s Rereleased Films: From Rope to Vertigo, Detroit, 1991. Sharff, Stefan, Alfred Hitchcock’s High Vernacular: Theory and Practice, New York, 1991. Finler, Joel W., Hitchcock in Hollywood, New York, 1992. Kapsis, Robert E., Hitchcock: The Making of a Reputation, Chi￾cago, 1992. Price, Theodore, Hitchcock and Homosexuality: His 50-Year Obses￾sion with Jack the Ripper and the Superbitch Prostitute, Metuchen, New Jersey, 1992. Spoto, Donald, The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures, New York, 1992. Corber, Robert J., In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Post￾war America, Durham, North Carolina, 1993. Hurley, Neil P., Soul in Suspense: Hitchcock’s Fright and Delight, Metuchen, New Jersey, 1993. Naremore, James, North by Northwest: Alfred Hitchcock, Director, New Brunswick, New Jersey, 1993. Sloan, Jane, Alfred Hitchcock: A Guide to References and Sources, New York, 1993. Arginteanu, Judy, The Movies of Alfred Hitchcock, Minneapolis, 1994. Gottlieb, Sidney, editor, Hitchcock on Film: Selected Writings and Interviews, Berkeley, California, 1995. Sloan, Jane E., Alfred Hitchcock: A Filmography and Bibliography, Berkeley, 1995. Boyd, David, editor, Perspectives on Alfred Hitchcock, New York, 1995. Rebello, Stephen, Alfred Hitchcock and the Making of Psycho, New York, 1998. Samuels, Robert, Hitchcock’s Bi-Textuality: Lacan, Feminisms, and Queer Theory, Albany, New York, 1998. Freedman, Jonathan, and Richard Millington, editors, Hitchcock’s America, New York, 1999. Auiler, Dan, Hitchcock’s Notebooks: An Authorized and Illustrated Look inside the Creative Mind of Alfred Hitchcock, New York, 1999. On HITCHCOCK: articles— Pratley, Gerald, ‘‘Alfred Hitchcock’s Working Credo,’’ in Films in Review (New York), December 1952. ‘‘Hitchcock Issue’’ of Cahiers du Cinéma (Paris), October 1953. May, Derwent, in Sight and Sound (London), October/December 1954. Bazin, André, ‘‘Alfred Hitchcock,’’ in Radio, Cinéma, Télévision (Paris), 23 January 1955. Sarris, Andrew, ‘‘The Trouble with Hitchcock,’’ in Film Culture (New York), Winter 1955. ‘‘Hitchcock Issue’’ of Cahiers du Cinéma (Paris), August/Septem￾ber 1956. Pett, John, ‘‘A Master of Suspense,’’ in Films and Filming (London), November and December 1959. Cameron, Ian, ‘‘Hitchcock and the Mechanics of Suspense,’’ in Movie (London), October 1962. Higham, Charles, ‘‘Hitchcock’s World,’’ in Film Quarterly (Berke￾ley), December/January 1962/63. Houston, Penelope, ‘‘The Figure in the Carpet,’’ in Sight and Sound (London), Autumn 1963. Truffaut, François, ‘‘Skeleton Keys,’’ in Film Culture (New York), Spring 1964. Cameron, Ian, and Richard Jeffrey, ‘‘The Universal Hitchcock,’’ in Movie (London), Spring 1965. ‘‘An Alfred Hitchcock Index,’’ in Films in Review (New York), April 1966. Sonbert, Warren, ‘‘Alfred Hitchcock: Master of Morality,’’ in Film Culture (New York), Summer 1966. Lightman, Herb, ‘‘Hitchcock Talks about Light, Camera, Action,’’ in American Cinematographer (Hollywood), May 1967. Braudy, Leo, ‘‘Hitchcock, Truffaut, and the Irresponsible Audi￾ence,’’ in Film Quarterly (Berkeley), Summer 1968. Houston, Penelope, ‘‘Hitchcockery,’’ in Sight and Sound (London), Autumn 1968. Millar, Gavin, ‘‘Hitchcock versus Truffaut,’’ in Sight and Sound (London), Spring 1969. Durgnat, Raymond, ‘‘The Strange Case of Alfred Hitchcock,’’ in Films and Filming (London), February 1970 through Novem￾ber 1970

DIRECTORS, 4 EDITION HITCHCOCK Smith, J.M.,""Conservative Individualism: A Selection of English Abel, Richard, ""Stage Fright: The Knowing Performance, in Film Hitchcock, in Screen(London), Autumn 1972. Criticism(Meadville, Pennsylvania), no. 1/2, 1987 Kaplan, G,""Lost in the Wood, in Film Comment(New York), Anderegg, Michael, ""Hitchcocks The Paradine Case and Filmic November/December 1972 Unpleasure, in Cinema Journal( Chicago), vol 26, no. 4, 1987 Poague, Lee, "The Detective in Hitchcock's Frenzy: His Ancestors Kapsis, Robert E, ""Hollywood Filmmaking and Reputation-Build and Significance, in Joumal of Popular Film(Bowling Green, ing: Hitchcock's The Birds, in Journal of popular Film and Washington, D. C ) Spring 1987 Sarris. Andrew. "Alfred Hitchcock. Prankster of Paradox. in Film Greig, Donald, The Sexual Differentiation of the Hitchcock Text, Comment(New York), March/April 1974 in Screen(London ), winter 1987 Simer, D, "Hitchcock and the Well-Wrought Effect. in Literature/ Lee, Sander H, Escape and Commitment in Hitchcock,'s Rear Film Quarterly(Salisbury, Maryland ), Summer 1975 Window, in Post Script (Jacksonville, Florida), vol. 7, no. 2, 1988. Fisher,R, ""The Hitchcock CameraT, in Filmmakers Newsletter Wood, Robin, ""Symmetry, Closure, Disruption: The ambiguity of Ward Hill, Massachusetts ), December 1975. Blackmail, in Cine Action! (Toronto), no 15, 1988 Silver,AJ,"Fragments of a Mirror: Uses of Landscape in Hitch- American Cinematographer(Los Angeles), January 1990 cock, in Wide Angle(Athens, Ohio), v. 1, no 3, 1976 Bellour, Raymond, ""Hitchcock, the Enunciator, in Camera Obscura Desowitz, Bill, "Strangers on Which Train? in Film Comment New York), May/June 1992. Berkeley), Fall 1977. Foley, J, " The Lady Vanishes, in Bright Lights(Cincinnati),no Lehman, Ernest, ' He who Gets Hitched, in American Film(Wash 0.July1993 ngton, D.C.), May 1978. Hitchcock Section"of Wide Angle(Athens, Ohio), vol 4, no 1, 1980 Wood, Brett, Foreign Correspondence: The Rediscovered W Films of Alfred Hitchcock, in Film Comment(New York), July/ Combs, Richard, ""Perche Hitchcock, 'and Ivor Montagu, Work ng with Hitchcock, in Sight and Sound (London), Summer 1980. August 1993 Hitchcock Issue"of Cinematographe(Paris), July/August 1980. Green, Susan, The Trouble with Hitch. in Premiere, Febru- Lehman, Ernest, Hitch, in American Film (Washington, D. C) August 1980 Salt, Barry, ".. Film in a Lifeboat?"in Film History(London), vol. Wollen, P,"Hybrid Plots in Psycho, in Framework(Norwicl 6, no. 1, Spring 1994 England), Autumn 1980. Kendall, L, ""Better Is To Catch a Thief: A History of Hitchcock Il, Belton, John, "Alfred Hitchcocks Under Capricon: Montage en- Film Score Monthly( Chula vista, California), no 59-60, July tranced by mise-en-scene, in Quarterly Review of Film Studies New York), Fall 1981 Hall, John W,*Touch of Psycho? Hitchcocks Debt to Welles, in Hitchcock Issue"of Camera/Stylo(Paris), November 1981 Bright Lights(Cincinnati), no 14, 1995 Brown, RS,""Herrmann, Hitchcock, and the Music of the Irra- Hemmeter. Thomas 'Hitchcock's Melodramatic Silence tional, in Cinema Journal( Chicago), Spring 1982 nal of Film and Video(atlanta), vol. 48, nos. 1-2, 图mg ossi, J, ""Hitchcocks Foreign Correspondent, ' in Film and His Summer 1996 ory(Newark, New Jersey), May 1982 Perry, Dennis R,"Imps of the Perverse: Discovering the Poe/ Hitchcock Issue of AvanI-Scene du Cinema(Paris), 1 Decem- Hitchcock Connection, in Literature/Film Quarterly, vol. 24 ber 1982 Wood, Robin, ""Fear of Spying, in American Film(Washington, Hunter, Evan, " Me and Hitch, in Sight and Sound (London), vol 7 D.C.), November 1983 no 6 June 1997. Jenkins. Steve and Richard Combs. "Hitchcock x 2. Refocussing the Spectator: Just Enough Re in Monthly Film Bulletin On hitchcock film London), February 1984 Sussex, Elizabeth, The Fate of F3080, in Sight and Sound (Lon- Casson, Philip, Interview with Alfred Hitchcock, for TV, Great don), Spring 1984 Britain. 1966 Kehr, Dave, Hitchs Riddle, in Film Comment(New York), May/ Yaacovolitz, M. and S. Melul, Im Hitchcock bi Yerushalayin( with Hitchcock in Jerusalem), short, Israel 1967 Hitchcock Issues"of Revue Belge du Cinema(Brussels), Autumn 1984 and Winter 1984/85 Schickel, Richard, The Men Who Made the Movies: Alfred Hitchcock, Bannon, B M.""Double, Double, Toil and Trouble, in Literature/ for TV. U.S. 1973 Film Quarterly(Salisbury, Maryland), January 1985 Allen, J. Thomas, " The Representation of Violence to Women Frenzy, in Film Quarterly(Berkeley), Spring 1985 French, Philip, Alfred Hitchcock-The Filmmaker as Englishman In a career spanning just over fifty years(1925-1976), Hitchcock and Exile, in Sight and Sound(London), Spring 1985 completed fifty-three feature films, twenty-three in the British period Kapsis, Robert E, "Alfred Hitchcock: Auteur or Hack?, " "in Cineaste thirty in the American. Through the early British films we can trace New York ), vol. 14. no. 3, 1986 he evolution of his professional/artistic image, the development of Zirnite, D, "Hitchcock, on the Level: The Heights of Spatial Ten- both the Hitchcock style and the Hitchcock thematic. His third film ion, 'in Film Criticism(Meadville, Pennsylvania), Spring 1986. (and first big commercial success), The Lodger, was crucial in establishing him as a maker of thrillers, but it was not until the mid Post Script (Jacksonville, Florida), Winter 1986 1930s that his name became consistently identified with that genre. In

DIRECTORS, 4 HITCHCOCK th EDITION 439 Smith, J.M., ‘‘Conservative Individualism: A Selection of English Hitchcock,’’ in Screen (London), Autumn 1972. Kaplan, G., ‘‘Lost in the Wood,’’ in Film Comment (New York), November/December 1972. Poague, Lee, ‘‘The Detective in Hitchcock’s Frenzy: His Ancestors and Significance,’’ in Journal of Popular Film (Bowling Green, Ohio), Winter 1973. Sarris, Andrew, ‘‘Alfred Hitchcock, Prankster of Paradox,’’ in Film Comment (New York), March/April 1974. Simer, D., ‘‘Hitchcock and the Well-Wrought Effect,’’ in Literature/ Film Quarterly (Salisbury, Maryland), Summer 1975. Fisher, R., ‘‘The Hitchcock Camera ‘I’,’’ in Filmmakers Newsletter (Ward Hill, Massachusetts), December 1975. Silver, A.J., ‘‘Fragments of a Mirror: Uses of Landscape in Hitch￾cock,’’ in Wide Angle (Athens, Ohio), v. 1, no. 3, 1976. Bellour, Raymond, ‘‘Hitchcock, the Enunciator,’’ in Camera Obscura (Berkeley), Fall 1977. Lehman, Ernest, ‘‘He Who Gets Hitched,’’ in American Film (Wash￾ington, D.C.), May 1978. ‘‘Hitchcock Section’’ of Wide Angle (Athens, Ohio), vol. 4, no. 1, 1980. Combs, Richard, ‘‘Perché Hitchcock?,’’ and Ivor Montagu, ‘‘Work￾ing with Hitchcock,’’ in Sight and Sound (London), Summer 1980. ‘‘Hitchcock Issue’’ of Cinématographe (Paris), July/August 1980. Lehman, Ernest, ‘‘Hitch,’’ in American Film (Washington, D.C.), August 1980. Wollen, P., ‘‘Hybrid Plots in Psycho,’’ in Framework (Norwich, England), Autumn 1980. Belton, John, ‘‘Alfred Hitchcock’s Under Capricorn: Montage en￾tranced by mise-en-scène,’’ in Quarterly Review of Film Studies (New York), Fall 1981. ‘‘Hitchcock Issue’’ of Camera/Stylo (Paris), November 1981. Brown, R.S., ‘‘Herrmann, Hitchcock, and the Music of the Irra￾tional,’’ in Cinema Journal (Chicago), Spring 1982. Rossi, J., ‘‘Hitchcock’s Foreign Correspondent,’’ in Film and His￾tory (Newark, New Jersey), May 1982. ‘‘Hitchcock Issue’’ of Avant-Scène du Cinéma (Paris), 1 Decem￾ber 1982. Wood, Robin, ‘‘Fear of Spying,’’ in American Film (Washington, D.C.), November 1983. Jenkins, Steve, and Richard Combs, ‘‘Hitchcock x 2. Refocussing the Spectator: Just Enough Rope . . . ,’’ in Monthly Film Bulletin (London), February 1984. Sussex, Elizabeth, ‘‘The Fate of F3080,’’ in Sight and Sound (Lon￾don), Spring 1984. Kehr, Dave, ‘‘Hitch’s Riddle,’’ in Film Comment (New York), May/ June 1984. ‘‘Hitchcock Issues’’ of Revue Belge du Cinéma (Brussels), Autumn 1984 and Winter 1984/85. Bannon, B.M., ‘‘Double, Double, Toil and Trouble,’’ in Literature/ Film Quarterly (Salisbury, Maryland), January 1985. Allen, J. Thomas, ‘‘The Representation of Violence to Women: Hitchcock’s Frenzy,’’ in Film Quarterly (Berkeley), Spring 1985. French, Philip, ‘‘Alfred Hitchcock—The Filmmaker as Englishman and Exile,’’ in Sight and Sound (London), Spring 1985. Kapsis, Robert E., ‘‘Alfred Hitchcock: Auteur or Hack?,’’ in Cineaste (New York), vol. 14, no. 3, 1986. Zirnite, D., ‘‘Hitchcock, on the Level: The Heights of Spatial Ten￾sion,’’ in Film Criticism (Meadville, Pennsylvania), Spring 1986. Miller, G., ‘‘Beyond the Frame: Hitchcock, Art, and the Ideal,’’ in Post Script (Jacksonville, Florida), Winter 1986. Abel, Richard, ‘‘Stage Fright: The Knowing Performance,’’ in Film Criticism (Meadville, Pennsylvania), no. 1/2, 1987. Anderegg, Michael, ‘‘Hitchcock’s The Paradine Case and Filmic Unpleasure,’’ in Cinema Journal (Chicago), vol. 26, no. 4, 1987. Kapsis, Robert E., ‘‘Hollywood Filmmaking and Reputation–Build￾ing: Hitchcock’s The Birds,’’ in Journal of Popular Film and TV (Washington, D.C.), Spring 1987. Greig, Donald, ‘‘The Sexual Differentiation of the Hitchcock Text,’’ in Screen (London), Winter 1987. Lee, Sander H., ‘‘Escape and Commitment in Hitchcock’s Rear Window,’’ in Post Script (Jacksonville, Florida), vol. 7, no. 2, 1988. Wood, Robin, ‘‘Symmetry, Closure, Disruption: The Ambiguity of Blackmail,’’ in CineAction! (Toronto), no. 15, 1988. American Cinematographer (Los Angeles), January 1990. Desowitz, Bill, ‘‘Strangers on Which Train?’’ in Film Comment (New York), May/June 1992. Foley, J., ‘‘The Lady Vanishes,’’ in Bright Lights (Cincinnati), no. 10, July 1993. Wood, Brett, ‘‘Foreign Correspondence: The Rediscovered War Films of Alfred Hitchcock,’’ in Film Comment (New York), July/ August 1993. Green, Susan, ‘‘The Trouble with Hitch,’’ in Premiere, Febru￾ary 1994. Salt, Barry, ‘‘. . . Film in a Lifeboat?’’ in Film History (London), vol. 6, no. 1, Spring 1994. Kendall, L., ‘‘Better Is To Catch a Thief: A History of Hitchcock II,’’ in Film Score Monthly (Chula Vista, California), no. 59–60, July￾August 1995. Hall, John W., ‘‘Touch of Psycho?: Hitchcock’s Debt to Welles,’’ in Bright Lights (Cincinnati), no. 14, 1995. Hemmeter, Thomas, ‘‘Hitchcock’s Melodramatic Silence,’’ in Jour￾nal of Film and Video (Atlanta), vol. 48, nos. 1–2, Spring￾Summer 1996. Perry, Dennis R., ‘‘Imps of the Perverse: Discovering the Poe/ Hitchcock Connection,’’ in Literature/Film Quarterly, vol. 24, no. 4, October 1996. Hunter, Evan, ‘‘Me and Hitch,’’ in Sight and Sound (London), vol. 7, no. 6, June 1997. On HITCHCOCK: films— Casson, Philip, Interview with Alfred Hitchcock, for TV, Great Britain, 1966. Ya’acovolitz, M., and S. Melul, Im Hitchcock bi Yerushalayin (With Hitchcock in Jerusalem), short, Israel 1967. Schickel, Richard, The Men Who Made the Movies: Alfred Hitchcock, for TV, U.S., 1973. *** In a career spanning just over fifty years (1925–1976), Hitchcock completed fifty-three feature films, twenty-three in the British period, thirty in the American. Through the early British films we can trace the evolution of his professional/artistic image, the development of both the Hitchcock style and the Hitchcock thematic. His third film (and first big commercial success), The Lodger, was crucial in establishing him as a maker of thrillers, but it was not until the mid- 1930s that his name became consistently identified with that genre. In