Hitchcock, by François Truffaut with the collaboration of Helen G. Scott.

; Hitchcock, Alfred, 1899-1980
New York, Simon and Schuster [1967] .

Location Call Number Status Consortium Loan
George Washington
WRLC Shared Collections Facility
PN1998.A3 H573 Off-site
LIB stacks
PN1998.A3 H57 Available Request
Van Ness stacks
PN1998.A3 H573 Request
Van Ness stacks
PN1998.A3 H573 Available Request
Founders Library, Pollock Collection
PN1998.A3 H573 Available Request
Standard Title Cinéma selon Hitchcock. English
Other Authors Hitchcock, Alfred, 1899-1980.
Subjects Hitchcock, Alfred, 1899-1980.
Motion picture producers and directors -- Biography.
Motion picture producers and directors.
Description 256 pages illustrations, portraits 28 cm
Copyright Date [1967]
Notes Dialogue between Truffaut and Hitchcock.
Translation of Le cinéma selon Hitchcock.
Includes bibliographical references (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.
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.
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.
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.
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.
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.
Genre Biography.
Network Numbers (OCoLC)273102
WorldCat Search OCLC WorldCat
WorldCat Identities Truffaut, François.
Publication timeline, list of works, related names and subjects and other information


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