The main complete quantity ever released on Alfred Hitchcock, overlaying his occupation and legacy in addition to the wider cultural and highbrow contexts of his work.
Contains thirty chapters by way of the prime Hitchcock scholars
Covers his lengthy profession, from his earliest contributions to different directors’ silent movies to his final uncompleted final film
Details the iconic legacy he left to filmmakers and audiences alike
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Additional resources for A Companion to Alfred Hitchcock (Wiley-Blackwell Companions to Film Directors)
Moffat: Cameron and Hollis, 1999. Braudy, Leo. The World in a Frame: What We See in Films. Garden City: Doubleday, 1976. Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. Berkeley: U of California P, 1966. Chandler, Charlotte. It’s Only a Movie: Alfred Hitchcock: A Personal Biography. New York: Simon and Schuster, 2005. Falk, Quentin. Mr. Hitchcock. London: Haus, 2007. Gottlieb, Sidney, ed. Alfred Hitchcock: Interviews. Jackson: UP of Mississippi, 2003. Gottlieb, Sidney, ed.
In short, Hitchcock seems an unusually unpromising subject for biographers because his public life was so routine and his private life so private. An enterprising biographer might accept the opacity and apparent narrowness of Hitchcock’s private life as a tonic challenge. Indeed, that is exactly what Spoto does in The Dark Side of Genius. indd 18 2/5/2011 10:08:10 AM Hitchcock’s Lives 19 resolutely inexpressive and a private life that is so jealously guarded and perhaps so boring. Unlike so many other directors – Robert Siodmak, Nicholas Ray, Roman Polanski – whose more apparently eventful lives have failed to attract more biographical interest, Hitchcock’s extreme personal reticence makes him something of a black box for biographers, who have fallen back to a great extent on either recycling and expanding the anecdotes with which the director had long regaled interviewers, especially in the case of Taylor, Chandler, and Falk, or plumbing the presumed depths beneath those anecdotes, as Spoto and McGilligan do.
There’s the constant pressure,” he told Frank S. Nugent in 1946. ’ So you compromise. You can’t avoid it. You do the commercial thing, but you try to do it without lowering your standards” (Hitchcock, “Mr. Hitchcock” 18). Indeed, he confided in Gerald Pratley, “[I]t is harder to make a film that has both integrity and wide commercial appeal than it is to make one that merely satisfies one’s artistic conscience” (Hitchcock, “Credo” 37). At a stroke, this last remark not only places the desire to achieve both integrity and commercial appeal above mere integrity but assumes that Hitchcock has an artistic conscience, that his films express something deep and true about himself irrespective of their commercial appeal.