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Hitchcock Annual (2005) - Hitchcock and Company


  • article: Hitchcock and Company
  • author(s): Thomas Leitch
  • journal: Hitchcock Annual (2005)
  • issue: pages 1-31
  • journal ISSN: 1062-5518
  • publisher: Hitchcock Annual Corporation
  • keywords: Film & television studies, Film (International), Film criticism, Film directors, Film theory, Oeuvre, Alfred Hitchcock





I wish to express my profound gratitude to Richard Allen and Sidney Gottlieb for their comments on an earlier draft of this essay.

  1. See John Belton, "Can Hitchcock Be Saved from Hitchcock Studies?" Cineaste 28, no. 4 (2003): 16–21.
  2. Gilberto Perez, The Material Ghost: Films and Their Medium (Baltimore: Johns Hopkins University Press, 1998), 9.
  3. Robert E. Kapsis, Hitchcock: The Making of a Reputation (Chicago: University of Chicago Press, 1992), 82.
  4. François Truffaut, Hitchcock, revised edition (New York: Simon and Schuster, 1984), 61.
  5. Indeed, Universal, Warner Bros., and Criterion, the most important producers controlling DVD releases of Hitchcock's films, have not only been generally scrupulous in their remastering of archival prints and their selection of supplementary materials, but have released the disks in boxed sets that emphasize Hitchcock's authorship as a selling point.
  6. Robin Wood, Hitchcock's Films (London: Zwemmer, 1965), 9; rpt. in Hitchcock's Films Revisited (New York: Columbia University Press, 1989), 55.
  7. Reconsidering his original question in 1989, Wood noted that "At that stage in the evolution of film criticism, the meaning would not have been significantly different if I had written 'Should we take Hitchcock seriously?'" (371).
  8. Raymond Durgnat, The Strange case of Alfred Hitchcock, or The Plain Man's Hitchcock (London: Faber and Faber, 1974), 39.
  9. Durgnat, The Strange case of Alfred Hitchcock, 61, 58.
  10. Wood, Hitchcock's Films Revisited, 146–47.
  11. Wood, Hitchcock's Films Revisited, 371.
  12. Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 21–24.
  13. Tania Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Methuen, 1988), 3.
  14. Wood, Hitchcock's Films Revisited, 377; cf. 109.
  15. Wood, Hitchcock's Films Revisited, 375.
  16. Peter Wollen, Signs and Meaning in the Cinema (London: Secker and Warburg, 1969), 104.
  17. See D.A. Miller, "Anal Rope," Representations 32 (Fall 1990): 114–33; Theodore Price, Hitchcock and Homosexuality: His 50–Year Obsession with Jack the Ripper and the Superbitch Prostitute: A Psychoanalytic View (Metuchen: Scarecrow, 1992); Robert Corber, In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Durham: Duke University Press, 1993); Lee Edelman, "Piss Elegant: Freud, Hitchcock, and the Micturaring Penis," GLQ 2, nos. 1–2 (1995): 149–77, and "Rear Window's Glasshole," in Out Takes: Essays on Queer Theory and Film, ed. Ellis Hanson (Durham: Duke University Press, 1999), 72–96; and Robert Samuels, Hitchcock's Bi–Textuality: Lacan, Feminisms, and Queer Theory (Albany: State University of New York Press, 1998).
  18. See John Russell Taylor, Hitch: The Life and Times of Alfred Hitchcock (New York: Pantheon, 1978).
  19. See Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (Boston: Little, Brown, 1983), 148–49, 513–14, 542–45.
  20. Lesley Brill, The Hitchcock Romance: Love and Irony in Hitchcock's Films (Princeton: Princeton University Press, 1988), xiii, 3.
  21. See Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (New York: HarperCollins, 2003).
  22. T.S. Eliot, "Hamlet and His Problems" (1920), rpt. in The Sacred Wood: Essays on Poetry and Criticism, 7th ed. (London: Methuen, 1950), 99.
  23. Stanley Fish, "No Bias, No Merit: The Case Against Blind Submission" (1979), in Doing What Comes Naturally: Change, Rhetoric and the Practice of Theory in Literary and Legal Studies (Durham: Duke University Press, 1989), 171.
  24. Sidney Gottlieb, Hitchcock on Hitchcock: Selected Writings and Interviews (Berkeley and Los Angeles: University of California Press, 1995), xxiii.
  25. See Susan Smith, Hitchcock: Suspense, Humour and Tone (London: British Film Institute, 2000), and James Naremore, "Hitchcock and Humor," Strategies 14, no. 1 (May 2001): 13–25.
  26. See Stephen Rebello, Alfred Hitchcock and the Making of Psycho (New York: Dembner, 1990); Dan Auiler, Vertigo: The Making of a Hitchcock Classic (New York: St. Martin's, 1998); Tony Lee Moral, Hitchcock and the Making of Marnie (Metuchen: Scarecrow, 2003); and Leonard J. Leff, Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood (London: Weidenfeld and Nicolson, 1987).
  27. See James Naremore, Filmguide to Psycho (Bloomington: Indiana University Press, 1973); Raymond Durgnat, A Long Hard Look at "Psycho" (London: British Film Institute, 2002); Stefan Sharff, The Art of Looking in Hitchcock's Rear Window (New York: Limelight, 1997); John Fawell, Hitchcock's Rear Window: The Well–Made Film (Carbondale: Southern Illinois University Press, 2001); Tom Ryall, Blackmail (London: British Film Institute, 1993); Camille Paglia, The Birds (London: British Film Institute, 1998); Charles Barr, Vertigo (London: British Film Institute, 2002); Alfred Hitchcock's Rear Window, ed. John Belton (Cambridge: Cambridge University Press, 2000); Alfred Hitchcock's Psycho: A Casebook, ed. Robert Kolker (New York: Oxford University Press, 2004); and Philip J. Skerry, The Shower Scene in Hitchcock's Psycho: Creating Cinematic Suspense and Terror (Lewiston, NY: Mellen, 2005).
  28. See Dan Auiler, Hitchcock's Notebooks (New York: Avon, 1999).
  29. Bill Krohn, Hitchcock at Work (London: Phaidon, 2000), 11, 12, 14, 15.
  30. Krohn, Hitchcock at Work, 10.
  31. See Robert A. Harris and Michael S. Lasky, The Complete Films of Alfred Hitchcock (New York: Citadel, 1976; revised ed., New York: Carol, 1999); Donald Spoto, The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures (New York: Doubleday, 1976; 2nd ed., 1992); Gene D. Phillips, Alfred Hitchcock (Boston: Twayne, 1984); and Maurice Yacowar, Hitchcock's British Films (Hamden, CT: Archon, 1977).
  32. See Elisabeth Weis, The Silent Scream: Alfred Hitchcock's Sound Track (Teaneck: Fairleigh Dickinson University Press, 1982), and Tom Ryall, Hitchcock and the British Cinema (Urbana: University of Illinois Press, 1986; rev. ed., London: Athlone, 1996).
  33. See Charles Derry, The Suspense Thriller: Films in the Shadow of Alfred Hitchcock (Jefferson, NC.: McFarland, 1988; rev. ed., 2001).
  34. See Paula Marantz Cohen,Alfred Hitchcock: The Legacy of Victorianism (Lexington: University Press of Kentucky, 1995).
  35. See Charles Barr, English Hitchcock (Moffatt: Cameron and Hollis, 1999); Steven DeRosa, Writing with Hitchcock: The Collaboration of Alfred Hitchcock and John Michael Hayes (London: Faber and Faber, 2001); Royal S. Brown, "Hitchcock, Herrmann, and the Music of the Irrational," Cinema Journal 2, no. 2 (spring 1982): 14–49; Steven C. Smith, A Heart at Fire's Center: The Life and Music of Bernard Herrmann (Berkeley and Los Angeles: University of California Press, 1991), 191–273; and Patricia Hitchcock O'Connell and Laurent Bouzereau, Alma Hitchcock: The Woman Behind the Man (New York: Berkley, 2003).
  36. John Orr, Hitchcock and Twentieth–Century Cinema (London: Wallflower, 2005), 29.
  37. See William Rothman, Hitchcock–The Murderous Gaze (Cambridge: Harvard University Press, 1982).
  38. Gottlieb, ed., Hitchcock on Hitchcock; and Alfred Hitchcock: Interviews (Jackson: University of Mississippi Press, 2003).
  39. Slavoj Zizek, Introduction to Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (London: Verso, 1992), 10.
  40. Tom Cohen, Hitchcock's Cryptonomies: Secret Agents (Minneapolis: University of Minnesota Press, 2005), xi, xii.
  41. Wood, Hitchcock's Films Revisited, 375–76.
  42. Cohen, Hitchcock's Cryptonomies: War Machines (Minneapolis: University of Minnesota Press, 2005), 264.
  43. See Raymond Bellour, The Analysis of Film, ed. Constance Penley (Bloomington: Indiana University Press, 2000).
  44. Adaptations of Hitchcock's work to interactive digital media have ranged from the archival–Lauren Rabinovitz and Greg Easley's CD–ROM The Rebecca Project (New Brunswick: Rutgers University Press, 1995), available for individual purchase; Kapsis's Multimedia Hitchcock (1999), a museum installation also on CD–ROM; and Stephen Mamber's Digital Hitchcock, an installation at UCLA's Film and Television Archive–to the more experimental installations Federico Windhausen reviews in "Hitchcock and the Found Footage Installation: Muller and Girardet's The Phoenix Tapes," Hitchcock Annual 12 (2003–04): 100–25.
  45. The University of Southern California, however, does have an Alma and Alfred Hitchcock Professorship of American Film, currently held by Drew Casper.
  46. See Murray Pomerance, An Eye for Hitchcock (New Brunswick: Rutgers University Press, 2004); and J. Lary Kuhns, "Hitchcock's The Mountain Eagle," Hitchcock Annual 7 (1998–99): 31–108.
  47. Peter Conrad, The Hitchcock Murders (New York: Faber and Faber, 2000), xi.
  48. See http://www.labyrinth.net.au/%7Emufftn/incgilligan1_c.html.
  49. Ken Mogg, The Alfred Hitchcock Story (London: Titan, 1999), 4.
  50. Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Pantheon, 1978), 137, 228,184.
  51. Sidney Gottlieb, Introduction to Framing Hitchcock: Selected Essays from the Hitchcock Annual, ed. Sidney Gottlieb and Christopher Brookhouse (Detroit: Wayne State University Press, 2002), 17.
  52. Bonnie Kime Scott, ed., The Gender of Modernism: A Critical Anthology (Bloomington: Indiana University Press, 1990), 9,12.