DOSSIER

HITCHCOCK
MARGINALIA HORS SÉRIE NO 21 : ÉTUDES SUR ALFRED HITCHCOCK

DÉCEMBRE 2011

Marginalia est publié 4 fois par an par

NORBERT SPEHNER
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 BRAAD THOMSEN, Christian, Hitchcock :
hans liv og film, Kobenhaven, Glydendal,
1990, 292 pages.
BRION, Patrick, Hitchcock : biographie,
filmographie illustrée, analyse critique,
Paris, la Martinière, 2000, 591 pages.
CARLINI, Fabio, Alfred Hitchcock, Firenze, La
nuova italia, (Il castoro cinema, 5), 1974, 115
pages. Réédition : Roma, L’Unita & Milano, Il
Castoro, 1995, 146 pages.
CARRENO, José Maria, Alfred Hitchcock,
Madrid, J.C., (Directores de cine, 3), 1980, 155
pages. [Bibliographie et filmographie de Juan
Ce dossier Hitchcock est une bibliographie Carlos Polo). Réédition : 1984, 155 pages.
de base des études sur la vie et l’oeuvre CASTRO DE PAZ, José Luis, Alfred Hitchcock,
du cinéaste Alfred Hitchcock. Le document Madrid, Catera, (Signo e imagen. Cineasta,
est divisé en trois parties : les ouvrages 49), 2000, 228 pages.
biographiques, les études sur l’ensemble
de l’oeuvre, les études sur quelques films CHANDLER, Charlotte, It’s Only a Movie .
spécifiques comme Psycho ou Vertigo. Alfred Hitchcock : A Personal Biography,
London, Simon & Schuster, 2005, xvi, 349
The Hitchcock File is a basic bibliography pages.
of secondary sources about the life and Charlotte Chandler draws from her extensive
work of film director Alfred Hitchcock. It is conversations with Hitchcock, frequently
divided in three parts : biographies, revealing unknown facts and unexpected
studies of the work, studies on some insights into the man, the director, and his
specific films like Psycho or Vertigo. films. Author of acclaimed biographies of
Groucho Marx, Federico Fellini, and Billy Wilder,
TABLE DES MATIÈRES Charlotte Chandler spent several years with
TABLE OF CONTENTS Hitchcock discussing his life and his amazing
career. She also talked with his wife, Alma, and
Biographies........................................... 2 daughter, Pat, as well as many of the screen
legends who appeared in his films, including
Études de l’oeuvre................................ 4 Cary Grant, Ingrid Bergman, James Stewart,
Studies of the work Grace Kelly, Joan Fontaine, Laurence Olivier,
Michael Redgrave, John Gielgud, Gregory Peck,
Études sur quelques films.................... 24 Henry Fonda, Tippi Hedren, James Mason, Eva
Studies of specific films Marie Saint, Kim Novak, Anthony Perkins, Janet
Leigh, and others.

CONDON, Paul & Jim SANGSTER, The

BIOGRAPHIES Complete Hitchcock, London, Virgin Books,
1999, 300 pages.
Cette première partie rassembles les A comprehensive guide to all Hitchcock's works
ouvrages biographiques et/ou les mono- including TV series and early silent films, as
graphies qui se présentent comme des well as Hollywood classics. Biographical essays
introductions générales à la vie et à cover Hitchcock and many of the actors in his
l’oeuvre d’Alfred Hitchcock. A noter que, films, and a modern perspective examines his
quand disponibles, les études traduites en influences on other film-makers over the years.
français sont présentées en premier, et la
version originale ensuite. DUNCAN, Paul, The Pocket Essential :
Alfred Hitchcock, Harpenden, Pocket
ARAUJO, Inacio, Alfred Hitchcock, Sao Paulo, Essentials, 1999, 96 pages.
Brasiliense, 1982, 105 pages. Includes an introductory essay on Hitchcock,
AUZEL, Dominique, Alfred Hitchcock, reviews and analysis of all of Hitchcock's films,
Toulouse, Editions Milan, (Les Essentiels), and a handy reference section that lists all the
1997, 63 pages. far weightier books about Hitchcock that, at a
price, are available to the enthusiast.
DURGNAT, Raymond, The Strange Case of KAGANSKI, Serge, Alfred Hitchcock, Paris,
Alfred Hitchcock, or the Plain Man’s Éditions Hazan, (Lumières, 1), 1997, 199
Hitchcock, London, Faber, 1974, 419 pages. pages.

FALK, Quentin, Mr. Hitchcock, London, Haus KAPSIS, Robert E., Hitchcock : The Making
Publishing, (Life & Times), 2007, vii, 200 of a Reputation, Chicago, University of
pages. Chicago Press, xvi, 313 pages.
This book offers us an understanding of how Through a close examination of Hitchcock's
Hitchcock’s complex personality helped shape personal papers, scripts, production notes,
his movies and his attitudes towards his publicity files, correspondence, and hundreds of
leading ladies. It’s a fine introduction to one of British and American reviews, Robert Kapsis
the most important figures in cinema history here traces Hitchcock's changing critical
and it will have you yearning to watch Hitch’s fortunes.
films again.
McGILLIGAN, Patrick, Alfred Hitchcock : une
FREEMAN, David, Les derniers jours vie d’ombre et de lumière, Lyon, Institut
d’Alfred Hitchcock ; suivi du scénario du Louis Lumière, Arles, Actes Sud, 2011, 1127
film Nuit brève, Paris, Jade, 1985, 270 pages. pages. Ed. or. : Alfred Hitchcock : A Life in
Ed. or. : The Last Days of Alfred Hitchcock : Darkness and Light, New York, Harper
A Memoir Featuring the Screenplay of Perennial, 2004, 864 pages.
Alfred Hitchcock’s the Short Night, De l'enfance rarement explorée pour
Woodstock (NY), Overlook Press, 1984, 281 p. comprendre la genèse de son inspiration aux
relations d'Alfred Hitchcock avec les femmes,
HAEFFNER, Nicholas, Alfred Hitchcock, avec l'argent, avec les studios, avec François
Harlow, Pearson/Longman, (On Directors), Truffaut, cette biographie définitive explique
2005, ix, 125 pages. comment l'un des plus grands cinéastes de
Nicholas Haeffner provides a comprehensive l'histoire a construit une oeuvre où l'étrange se
introduction to Alfred Hitchcock’s major British mêle à l'extrême intelligence, jusqu'au
and Hollywood films, navigating the mausolée qui fait de lui pour toujours le "Maître
audience through a wealth of critical du suspense".
commentaries. One of the acknowledged
giants of film, Hitchcock’s prolific half-century MOGG, Ken , The Alfred Hitchcock Story,
career spanned the silent and sound eras and Dallas, Taylor, 1999, ix, 211 pages. Rédition :
resulted in 52 films of which Rear Window London, Titan Books, 2008, 192 pages. Avec
(1954), Vertigo (1958) and Psycho (1960) are une préface de Janet Leigh.
now seen as classics within suspense, The first comprehensively illustrated look at the
melodrama and horror genres. career of Alfred Hitchcock. In the tradition of
the acclaimed The Hammer Story, it is an
JENDRICKE, Bernhard, Alfred Hitchcock, authoritative, film-by-film guide to 'the Master'
Reinbek bei Hamburg, Rowohlt, (Rowohlts and his work, from the early silent days of The
Monographien, 420), 1993, 158 pages. Lodger, through his classic British period of The
Réédition : 1999. 39 Steps, to the Hollywood success of Rear
Einen kompakten Überblick über Leben und Window, Vertigo, North by Northwest, Psycho
Werk eines der bedeutendsten Regisseure der and beyond. Packed with hundreds of stills and
Filmgeschichte liefert dieses kleine posters, with many rare or unseen images, and
Taschenbuch. Alfred Hitchcock hat wie kaum with additional features including the director's
ein zweiter Regisseur eine unglaublich famous cameos, this is the ultimate book for
ergiebige Schaffensperiode mit Erfolg an den the Hitchcock fan.
Kinokassen verbunden und sich mit Filmen wie
Psycho, Berüchtigt oder Im Schatten des PERRY, George, Hitchcock, Garden City,
Zweifels einen Platz in der Filmgeschichte Doubleday, 1975, 126 pages.
gesichert. Seine filmische Brillanz, man denke PHILLIPS, Gene D., Hitchcock, London,
nur an die Szenen mit James Stewart und Kim Macmillan, 1975, 126 pages.
Novak im Glockenturm von Vertigo, gepaart PHILLIPS, Gene D., Alfred Hitchcock,
mit seinem Gespür für das Geschäft, verhalfen Boston, Twayne Publishers, 1984, 211 pages.
Hitchcock zu einer herausragenden Position als SIMSOLO, Noël, Alfred Hitchcock, Paris,
Filmemacher. Éditions Seghers, (Cinéma d’aujourd’hui),
1969, 188 pages. Propos d’Alfred Hitchcock.

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Panorama critique, témoignages, filmographie,
bibliographie, 60 documents iconographiques. ÉTUDES GÉNÉRALES
SKWARA, Janusz, H i t c h c o c k , Warszawa GENERAL STUDIES
(Varsovie), Wydawnictwa artystyczne i
filmowe, 1974, 142 pages.
SPOTO, Donald, La Face cachée d’un
génie : la vraie vie d’Alfred Hitchcock,
Paris, Albin Michel, 1989, 615 pages.
Réédition : Paris, Ramsay, (Ramsay Poche.
Cinéma), 1994, 615 pages. Ed. or. : The Dark
Side of a Genius : The Life of Alfred
Hitchcock, Boston, Little Brown, 1983, xiv,
594 pages. Réédition : New York, Da Capo
Press, 1999, xiv, 594 pages, avec une nouvelle
introduction.

TAYLOR, John Russell, Hitch : The Life and

Times of Alfred Hitchcock, London & Boston,
Faber & Faber, 1978, 320 pages. Réédition :
New York, Pantheon Books, 1978, 320 pages &
New York, Da Capo Press, 1996, 324 pages.
The author, a distinguished film critic and
friend of Hitchcock's, enjoyed his full ABRAMSON, Leslie H., In the Eye of the
cooperation. Based on numerous interviews, Director : Self-Reflexivity in the Films of
with photos from the private family albums, Alfred Hitchcock, Chicago, The University of
and an in-depth study of the making of his last Chicago, 1997, 322 pages.
film, this biography of the director is as
intriguing, revealing, perverse, and enter- ADAIR, Gene, Alfred Hitchcock : Filming
taining as any Hitchcock classic. Our Fears, Oxford, Oxford University Press,
(Oxford Portraits), 2002, 160 pages.
TORO, Guillermo del, Hitchcock, Pozuelo de Alfred Hitchcock is a fascinating look at the life of
Alarcon, Madrid, Espasa, (Espasa Forum), one of the most influential filmmakers in the
2009, 285 pages. world -- a man known for his portly profile and
distinct, leery voice almost as much as for his
WYDRA, Thilo, Alfred Hitchcock : Leben, groundbreaking movies. From Hitchcock's first
Werk, Wirkung, Berlin, Suhrkamp, film, Blackmail -- the first British movie with
(Suhrkamp Basis Biographie, 43), 2010, 159 sound -- to his blockbuster Hollywood
pages. successes, Psycho, The Birds, Rear Window, and
« Die Leute glauben, ich sei ein Monster. » A. Vertigo, Alfred Hitchcock chronicles the Master of
H. Alfred Hitchcock: Ein Name, der zu einer Suspense's close working relationship with his
Marke wurde. Jeder scheint ihn zu kennen, sein wife, Alma, who was an integral part of his
gezeichnetes Profil, seine exzentrischen filmmaking process, and the struggle to gain
Cameo-Auftritte in den eigenen Filmen. Und full artistic control over his work.
dennoch bleibt der weltweit populärste
Filmregisseur als Mensch ein Unbekannter. AGNEL, Aimé, Hitchcock et l’ennui : une
Angst und Phobien bestimmten das Leben und psychologie à l’oeuvre, Paris, Ellipses, 2011,
Arbeiten des scheuen »Master of Suspense«, 189 pages.
der mit Vertigo, Psycho oder Die Vögel zeitlose Nombreux sont les personnages qui s'ennuient
Meisterwerke der Filmgeschichte schuf. dans les films d'Alfred Hitchcock. Certains
d'entre eux s'en plaignent ouvertement. Tel
ZIMMER, Jacques, Alfred Hitchcock, Paris, James Stewart, dans Fenêtre sur cour, qui a du
J’ai Lu, (J’ai Lu Cinéma), 1988, 143 pages. mal à supporter l'immobilité à laquelle il est
Jacques Zimmer, sans parti pris, toutes contraint, ou Teresa Wright, dans L'Ombre d'un
passions apaisées, expose avec clarté et doute, qui prend conscience de la vie
précision comment et pourquoi Hitchcock est bourgeoise étriquée dans laquelle sa famille
l'un des plus grand artistes du 7ème art. s'est enlisée. Pour d'autres l'ennui est
existentiel (Cary Grant, dans La Mort aux
trousses, Tippi Hedren, dans Les Oiseaux), et,
parfois, mortifère (Psychose). Le meilleur

4
antidote à l'ennui est alors l'enfant que ces William Rothman--James, Hitchcock and the
personnages découvrent en eux qui n'est plus fate of character, Paula Marantz Cohen--
l'enfant qu'ils ont été, mais celui qu'ils sont Hitchcock, Metasceptic, Richard Allen.
devenus, l'enfant de la maturité. Sans doute
Hitchcock a-t-il dû beaucoup s'ennuyer pour ALLEN, Richard & Sam ISHII-GONZALES (eds.),
avoir su si bien nous donner à vivre, par le jeu Hitchcock : Past and Future, London & New
du suspense, un temps où le rythme, l'émotion York, Routledge, 2004, xix, 284 pages.
et l'enfance retrouvent enfin leurs pouvoirs. Introduction : Richard Allen
Section I Authorship and Aesthetics
ALBERICH, Enrique, Alfred Hitchcock : el 1. Hitch: A Tale of Two Cities (London and Los
poder de la imagen, Barcelona, Fabregat, Angeles): Peter Wollen
1987, 414 pages. 2. Hitchcock and Humor : James Naremore
3. Doubles and Doubts in Hitchcock û The
ALLEN, Richard, Hitchcock’s Romantic German Connection : Bettina Rosenbladt
Irony, New York, Columbia University Press, 4. The Object and the Face: Notorious,
(Film and Culture), 2007, xxi, 295 pages. Bergman and the Close-Up : Joseph McElhaney
Is Hitchcock a superficial, though brilliant, 5. Unknown Hitchcock: The Unrealized Projects
entertainer or a moralist? Do his films celebrate Sydney Gottlieb
the ideal of romantic love or subvert it? In a Section II French Hitchcock
new interpretation of the director's work, 6. To Catch a Liar: Bazin, Chabrol and Truffaut
Richard Allen argues that Hitchcock Encounter Hitchcock : James M. Vest
orchestrates the narrative and stylistic idioms 7. Hitchcock, The First Forty-Four Films:
of popular cinema to at once celebrate and Chabrol and Rohmer's "Politique des Auteurs"
subvert the ideal of romance and to forge a Walter Raubicheck
distinctive worldview-the amoral outlook of the 8. Hitchcock with Deleuze : Sam Ishii-Gonzales
romantic ironist or aesthete. Section III Poetics and Politics of Identity
9. Music and Identity: The Struggle for
ALLEN, Richard & Sam ISHII-GONZALES (eds.), Harmony in Vertigo : Daniel Srebnick
Alfred Hitchcock : Centenary Essays, 10. The Silence of The Birds: Sound Aesthetics
London, British Film Institute, 1999, xxi, 362 and Public Space in Later Hitchcock : Angelo
pages. Restivo
Part 1 Hitchcock's poetics: suspence and its 11. The Master, The Maniac, and Frenzy:
master - theory vs practice, Deborah Knight Hitchcock's Legacy of Horror : Adam
and George McKnight--Hitchcock, fin de partie, Lowenstein
Raymond Bellour--Hitchcock as sabateur, 12. Hitchcock's Ireland: The Performance of
Susan Smith--the theatre in English Hitchcock. Irish Identity in Juno and the Paycock and
Part 2 Hitchcock and modernism: Hitchcock at Under Capricorn : James Morrison
the margins of noir, James Naremore--the 13. Hitchcock and Hom(m)osexuality : Patricia
efforts of Eros - Hitchcock with the surrealists, White
S. Ishii Gonzales--the cult of representation - Section IV Death and Transfiguration
painting and sculpture in Hitchcock, Brigitte 14. Death Drives : Laura Mulvey
Peuker--Hitchcock's "rope", Peter Wollen. Part 15. Of "Farther Uses of the Dead to the Living":
3 Politics, ideology, television: the outer circle - Hitchcock and Bentham : Miran Bozovic
Hitchcock on television, Tom Leitch--we might 16. Is There A Proper Way To Remake A
even get in the news reels - the press and Hitchcock Film? :Slavoj Zizek
democracy in Hitchcock's World War II anti-
fascist films, Ina Rae Hark--you wanns check ALONSO, Ismael, Welles y Hitchcock : dos
my thumb prints? "Vertigo", the trope of cineastas separados por aquello que les
invisibility and cold war nationalism, Robert une, Madrid, AstraZeneca, 2000, 58 pages.
Corber--on espionage and "The 39 Steps", ANON., Alfred Hitchcock, Madrid, Filmoteca
Toby Miller. Part 4 Sexuality/romance: "Marnie" Nacional de Espana, 1978, 181 pages.
and the foreclosure of lesbian identity, ANON., Alfred Hithcock, Lisboa, Cinemateca
Jacqueline Joyce--Hitchcock's future, Lee Portuguesa, 1982, 320 pages.
Edelman--are snakes necessary? in the films of ANON., Hitchcock und die Filmmusik,
Hitchcock and Preston Sturges, Lesley Brill-- München, Grin Verlag, 2010, 80 pages. [Die
"Vertigo" and feminist theory, Susan White. Entwicklung und Verwendungsmöglichkeiten
Part 5 Fin de siecle Hitchcock: Hitchcock the der Filmmusik anhand ausgewählte Werke des
dandy, Thomas Elsasser--returning to the Regisseurs Alfred Hitchcock].
scene of the crime - "Psycho" and the remake,

5
 personnel, including writers, actors and
actresses, and Hitchcock's personal assistant of
more than thirty years.

AUSTAD, Jonathan, Hemingway and

Hitchcock : An Examination of the
Aesthetic Modernity, thèse de doctorat/PhD,
The Florida State University, 2008, 135 pages.

BADMINGTON, Neil, Hitchcock’s Magic,

Cardiff, University of Wales Press, 2011, x, 208
pages.
This book answers the questions about the
influence and ongoing appeal of Hitchcock's
work by focussing upon the fabric of the films
themselves, upon the way in which they enlist
and sustain our desire, holding our attention by
constantly withholding something from us. We
keep watching, keep revisiting the stories,
because there is always something left to see
and know.

BAGGETT, David & William A. DRUMIN (eds.),

Hitchcock and Philosophy : Dial M for
Metaphysics, Chicago, Open Court, (Popular
Culture and Philosophy), 2007, xii, 273 pages.
Being Alfred Hitchcock
Part I The Mystery of Everyday Life
ANON., Alfred Hitchcock : 50 ans de 1. Sabotage: Chaos Unleashed and the
suspense, in Stars du Grand Écran, no 1, Le Impossibility of Utopia : WILLIAM A. DRUMIN
Perreux, Éditions Schiava, 1980. 2. Shadow of a Doubt: Secrets, Lies, and the
ARGINTEANU, Judy, The Movies of Alfred Search for the Truth :ANGELA CURRAN
Hitchcock, Minneapolis, Lerner Publications, 3. Rope: Nietzsche and the Art of Murder
1994, 80 pages. SHAI BIDERMAN and ELIANA JACOBOWITZ
ARRANZ, David Felipe, et alii, El universo de Part II Horrors Without End
Alfred Hitchcock, Madrid, Notorius, 2007, 205 4. Psycho: Horror, Hitchcock, and the Problem
p a g e s . Ouvrage coordonné par Guillermo of Evil : PHILIP TALLON
Balmori. 5. The Birds: Plato and Romantic Love
ASOCIATION espanola de Historiades del cine, RAJA HALWANI and STEVEN JONES
De Dali a Hitchcock : los caminos en el 6. Featherless Bipeds: The Concept of
c i n e , Madrid, Asociacion espanola de Humanity in The Birds : SCOTT CALEF
Historiadores del cine, 1995, 427 pages. 7.. Hitchcock's Existentialism: Anguish,
Despair, and Redemption in Breakdown
AUILER, Dan, Les Cahiers de Hitchcock : les SANDER LEE
secrets d’un créateur de génie, Paris, Jean- Part III The Reeling Mind
Claude Lattès, 1999, 301 pages. Ed. or. : 8. Vertigo and the Pathologies of Romantic
Hitchcock’s Notebooks : An Authorized Love : NOEL CARROLL
and Illustrated Look Inside the Creative 9. Vertigo: Scientific Method, Obsession, and
Mind of Alfred Hitchcock, New York, Spike, Human Minds : DAN FLORY
1999, 567 pages. Réédition : New York, Harper 10. On Being Mr. Kaplan: Personal Identity in
Entertainment, 2001, 567 pages. North by Northwest : STEVEN W. PATTERSON
With the complete cooperation of the Hitchcock 11. Ethics or Film Theory? The Real McGuffin in
estate and access to the director's notebooks, North by Northwest :THOMAS E. WARTENBERG
journals, and archives, Dan Auiler takes you Part IV Hitchcock's Ethical Dilemmas
from the very beginnings of story creation to 12. Liberalism Adrift in Lifeboat : RANDALL E.
the master's final touches during post- AUXIER
production and publicity. Actual production 13. Why Be Moral? Amorality and Psychopathy
notes from Hitchcock's masterpieces join in Strangers on a Train : STEVEN M. SANDERS
detailed interviews with key production 14. Rear Window: Hitchcock's Allegory of the

6
Cave : MICHAEL SILBERSTEIN Arnold, Markus Bauck, Lars-Olav Beier, Ulrich
15. Rear Window: Looking at Things Ethically von Berg, Hans-Christoph Blumenberg, Brigitte
AEON J. SKOBLE Desalm, Gregor Dotzauer, Thomas Elsaesser,
Part V What's It All About, Alfred? Michael Esser, Fritz Göttler, Stefan
16. Plot Twists and Surprises: Why Are Some Grissemann, Norbert Grob, Volker Gunske,
Things Improbable? : KEVIN KINGHORN Alexander Horwath, Wolfgang Jacobsen, Peter
17. The Hitchcock Cameo: Aesthetic W. Jansen, Andreas Kilb, Annette Kilzer, Peter
Considerations : JASON HOLT Körte, Daniel Kothenschulte, Klaus Kreimeier,
18. Knowing When to Be Afraid: Rationality and Ulrich Kriest, Claudia Lenssen, Anke Leweke,
Suspense : CATHERINE JACK DEAVEL and Verena Lueken, Helmut Merker, Gerhard
DAVID PAUL DEAVEL Midding, Katja Nicodemus, Karlheinz Oplustil,
19. Shadow of a Doubt and Marnie: Entries into Harald Pauli, Milan Pavlovic, Lars Penning,
a Mind : ROBERT J. YANAL Veronika Rall, Stefan Reinecke, Rainer Rother,
Irene Rudolf, Daniela Sannwald, Georg
BALSAMO, Beatrice, Hitchcock : il volto e la Seeßlen, Hans Schifferle, Frank Schnelle, Hans-
cosa, Milano, Mimesis, (Cinema, no 1), 2010, Dieter Seidel, Claudius Seidl, Anke Sterneborg,
197 pages. Christoph Terhechte, Tom Tykwer, Andreas
BARBE, Norbert-Bertrand, Hitchcock, Mou- Ungerböck.
zeuil - Saint-Martin, Bès, (La Pensée de
l’image, 8), 2004, 11 pages BELLOUR, Raymond, L’Analyse du film,
BARBIER, Philippe & Jacques MOREAU, Alfred Paris, Éditions Albatros, (Ça cinéma), 1989,
H i t c h c o c k , Paris, Éditions Pac, 1985, 87 310 pages. Recueil de textes extraits de
pages. [avec la collaboration d’Elisabeth diverses revues et publications, 1966-1979 et
Personne et de Jean-Laurent Passy]. portant principalement sur les oeuvres de Fritz
Lang et d’Alfred Hitchcock.
BARR, Charles, English Hitchcock, Moffat,
Cameron & Hollis, (Movie Book Series), 1999, BERVAS, Laurence, Love and Truth in Hitch-
25 pages. cock’s Movies Spellbound and Vertigo,
The Lodger, Blackmail, The Man Who Knew Too Mémoire de maîtrise, La Réunion, 1993, 118
Much, The 39 Steps, and The Lady Vanishes pages.
are films of enormous wit and sophistication -- BIANCHI, Pietro & Claudio G. FAVA (dir.),
masterworks in their own right. Hitchcock's Personale di Alfred Hitchcock, Genova,
critical reputation has so far been founded on Carbone, (I quaderni del cineforum genovese),
his American films, an imbalance that English 1959 ( ?), 55 pages.
Hitchcock rectifies. Its entertaining and
elegantly written text, supported by 240 well- BIGI, Emanuele, L’Ombra e il profilo : la TV
chosen stills and frame enlargements, offers a di Alfred Hitchcock, Torino, Lindau, (Cult),
detailed and thoroughly documented reading of 2003, 132 pages.
the films. "Questo saggio colma lacune, rievoca memorie,
precisa circostanze che riguardano l'autentica
BAZIN, André, Le Cinéma de la cruauté : zona d'ombra in una biografia e filmografia
Eric von Stroheim, Carl Th. Dreyer, altrimenti indagate in ogni sfaccettatura da
Preston Sturges, Luis Bunuel, Alfred almeno tre generazioni di critici e storici. A
Hitchcock, Akira Kurosawa, Paris, portare Hitchcock al successo sono tre elementi
Flammarion, 1975, 224 pages. chiave di tutto il suo cinema: l'attenzione a una
La partie consacrée à Hitchcock contient une scrittura narrativa e filmica che diviene
série d’articles publiés entre 1945 et 1958 : ossessione dei dettagli nella fase di
L’ombre d’un doute, Soupçons, Les Enchaînés, preparazione; la fedeltà allo schema ideologico
Panoramique sur Hitchcock, Les 39 marches, di tutta la sua opera, ovvero il triangolo senso
Faut-il croire en Hitchcock ?, L’Inconnu du di colpa/lotta per l'affermazione
Nord-Express, Une Femme disparaît, Lifeboat, dell'innocenza/ossessione della colpa; il fronte
Hitchcock contre Hitchcock,La Main au collet, dialettico tra morale e trasgressione, tra codice
Fenêtre sur cour, L’homme qui en savait trop, etico e ironia dei comportamenti". Dalla
Hitchcock par Rohmer et Chabrol. prefazione di Giorgio Gosetti.

BEIER, Lars-Olaf & Georg SEESSLEN (dir.), BILHARINHO, Guido, O cinema de Bergman,
Alfred Hitchcock, Berlin, Bertz+ Fischer, Fellini e Hitchcock, Useraba (Brésil),
1999, 480 pages. Instituto Triangulino de Cultura, (Ensaios de
Avec la participation de Michael Althen, Frank critica cinematografica), 1999, 224 pages.

7
BLUME, Frank, Zur Funktion der Komik in Modleski. rape vs. mans/laughter: Blackmail -
Hitchcock’s Frühwerk, Alfeld/Leine, Coppi Ina Rae Hark. keeping your amateur standing:
Verlag, 2002, 122 pages. audience - Participation in Hitchcock's political
films - Michael. Renov. from identification to
BORNE, Carole, Le Labyrinthe à travers ideology: the male system of Notorious - Royal
trois films : Shining, de Stanley Kubrick, S. Brown. Vertigo as Orphic Tragedy - Lesley
Spellbound, d’Alfred Hitchcock et L o s t Brill. North by Northwest and romance - R.
H i g h w a y , de David Lynch, mémoire de Barton Palmer. the metafictional Hitchcock: the
maîtrise, Université de la Sorbonne nouvelle, experience of viewing and the viewing of
2002, 120 pages. experience in Rear Window and Psycho.
BOGDANOVITCH, Peter, The Cinema of
Alfred Hitchcock, New York, Museum of BRILL, Lesley, The Hitchcock Romance :
Modern Art Film Library, 1963, 48 pages. Love and Irony in Hitchcock’s Films,
Princeton (NJ), Princeton University Press,
BOURDON, Laurent, Dictionnaire Hitchcock, 1988, xv, 296 pages.
Paris, Larousse, (In Extenso), 2007, 1051 BRION, Patrick, Le Film noir : l’âge d’or du
pages. Préface de Claude Chabrol. film criminel américain, d’Alfred Hitchcock
Tout sur Hitchcock, ses films et téléfilms, ses à Nicholas Ray, Paris, La Martinière, 2004,
acteurs et actrices, ses collaborateurs et 451 pages.
collaboratrices, son père, sa mère, se femme, BROUGHER, Kerry, Michael TARANTINO &
sa fille, ses chiens, ses lubies, ses secrets, ses Astrid BOWRON (eds.), Notorious : Alfred
trucs de tournage....Un dictionnaire exhaustif Hitchcock and Contemporary Art, Oxford,
(4 millions de signes) comptant plus de 1.500 Museum of Modern Art, 1999, 84 pages.
entrées. Plus de 1000 biographies consacrées BROWN, Bryan, The Alfred Hitchcock Movie
aux hommes et femmes ayant travaillé avec le Quizz Book, New York, Perigee Book, 1986,
maître. Chacun des 57 longs métrages 176 pages.
d'Hitchcock est l'objet d'un développement in BROWN, Jennifer Renee, Alfred Hitchcock
extenso sur de nombreuses pages par l'auteur. Presents : Propaganda. A Rhetorical Study
Hitchcock est et demeure l'un des dix grands of Alfred Hitchcock’s World War II
cinéastes du XXème siècle, et un grand artiste Propaganda Films, mémoire de maîtrise,
créateur de formes. Liberty University, 2010, 110 pages.
BRUNETTA, Gian Piero, Alfred Hitchcock o
BOUZEREAU, Laurent, The Alfred Hitchcock l’universo della relativita, Cittadella, Delta
Quote Book, Secaucus (NJ), Carol Pub. Group, Tree, (Problemi e protagonisti dello spettacolo,
1993, x, 230 pages. 1), 1971, 125 pages.
BRUNETTA, Gian Piero, Il cinema di Hitch-
BOUZEREAU, Laurent, Hitchcock : pièces à cock, Venezia, Marsilio, (Tascabili Marsilio, 23),
conviction, Paris, Éditions de la Martinière, 1995, 173 pages.
2010, 174 pages. Ed. or. : Hitchcock, piece BRUNO, Edoardo (dir.), Per Alfred Hitchcock
by piece, New York, Abrams, 2010, 174 Montepulciano, Editori del Grifo, 1981, 239
pages. Préface de Patricia Hitchcock O’Connell. pages.
En soixante ans de carrière, Alfred Hitchcock a BRUPBACHER, Beat, Unmasking Alfred
réalisé plus de cinquante longs métrages. Hitchcock : A Study of Selected Films in
Héros atypiques, personnages féminins their Context from M u r d e r (1930) to
complexes, criminels séduisants, mais aussi Marnie (1964), Thèse de doctorat, Université
"Hitchcock Touch ", Laurent Bouzereau, met en d’Oxford, 1992, 301 pages.
perspective l'oeuvre du maître du suspense. BRUZZONE, Natalino, et alii, I film di Alfred
Outre des photographies inédites, extraites des Hitchcock, Roma, Gremese, (Effeto cinema,
archives de la famille Hitchcock, ce livre 314), 1982, 295 pages.
propose des objets-souvenirs détachables tels CAMPILLO, Antonio, El lugar del juicio : seis
que lettres, notes et mémos, qui dévoilent la testigos del siglo XX : Arendt, Canetti,
vie privée et l'oeuvre du réalisateur. Derrida, Espinosa, Hitchcock y Trias,
Madrid, Biblioteca Nueva, (Razon & Socieda,
BOYD, David (ed.), Perspectives on Alfred 80), 2009, 243 pages.
Hitchcock, New York, G. K. Hall, 1995, xi, 184 CAPUZZO, Heitor, Alfred Hitchcock : o
pages. cinema em construçao, Vitoria, Editor
Richard Schickel. Hitchcock on Hitchcock: an Fundaçao Ceciliano Abel de Almeida,
interview - Robin Wood. plot formations - Universidade Federal do Espirio Santo, 1995,
Thomas Leitch. games Hitchcock plays - Tania 188 pages. [tiré de la thèse de doctorat,

8
 CORBER, Robert J., In the Name of National
Security : Hitchcock, Homophobia and the
Political Construction of Gender in
Postwar America, Durham, Duke University
Press, 1993, x, 260 pages.
COROMINAS RIVERA, Alfonso, Viaje a la luz :
paseo con Alfred Hitchcock por Cordoba y
Granada, Barcelona, Alhena Media, (Alhena
literaria), 2009, 165 pages.

CORTELLAZOO, Sara, Daniela GIUFFRIDA &

Dario TOMASI (dir.), Hitchcock e Hitch-
cockiani, Torino, Assessorato per la cultura,
AIACE, Movie Club, 1985, 136 pages.

université de Sao Paulo, 1990]. CRISTOBAL, Ramiro, Alfred Hitchcock : 14

CARRENO, José Marila, Alfred Hitchcock, peliculas imprescindibles, Madrid, Ediciones
Madrid, Ediciones JC, 1980 (?), 155 pages. Irreverentes, (Coleccion Rara Avis,8) 2008,
CASTRO DE PAZ, José Luis, El surgimiento 265 pages.
del telefilme : los anos cincuenta y la crisis El famoso periodista cinematográfico Ramiro
de Holywood : Alfred Hitchcock y la Cristobal hace un estudio profundo sobre 14
television, Barcelona, Paidos Ibérica, (Paidos películas de Alfred Hitchock, pero no sólo se
communicacion, 110. Ciné), 1999, 277 pages. detiene en cuestiones técnicas, artísticas y
psicológicas, sino que desnuda las relaciones
CESARIO, Salvatore, La psicoanalisi e del director británico con Kim Novack, Tippi
Hitchcock : che cosa la psicoanalisi puo Hedren, Grace Kelly, Ingrid Bergman y otras
imparare da Hitchcock, Milano, F. Angeli, famosas actrices del cine del [Link].
(Psicologia, 127), 1996, 271 pages.
COHEN, Paula Marantz, Alfred Hitchcock : DECOBERT, Lydie, L’Escalier dans le cinéma
The Legacy of Victorianism, Lexington (KY), d’Alfred Hitchcock : une dynamique de
University Press of Kentucky, 1995, 198 pages. l’effroi, Paris, L’Harmattan, (Champs visuels),
COHEN, Tom, Anti-Mimesis from Plato to 2008, 243 pages.
Hitchcock, Cambridge & New York, Cambridge S'il est réducteur de cataloguer Alfred
University Press, 1994, xiii, 226 pages. Hitchcock comme Maître du suspense au regard de
la richesse et de la complexité de ses films, il
COHEN,Tom, Hitchcock’s Cryptonymies : faut bien reconnaître que c'est un élément
Secret Agents, vol. 1, Minneapolis (MN), architectural "suspendu" qu'il utilise et
University of Minnesota Press, 2005, xx, 284 manipule comme ressort de l'action : l'escalier.
pages. Celui-ci est-il réductible à un moyen de
This first volume of Hitchcock’s Cryptonymies transport vers des extrémités non sécurisées ?
provides a singularly close reading of films such Déployé dans l'espace filmique, où chacun des
as The Lady Vanishes, Spellbound, and North degrés rythme le rapprochement d'un moment
by Northwest, exposing the often imperceptible redouté, n'est-il qu'un instrument de mesure
visual and aural puns, graphic elements, and du temps ?
cryptograms that traverse his entire body of
work. DE PAZ, Jose Luis Castro, The TV World of
Alfred Hitchcock : The 1950’s, The Crisis of
COHEN, Tom, Hitchcock’s Cryptonomies : Hollywood and Television, thèse de
War Machines, vol. 2, Minneapolis, Minnesota doctorat/PhD, Universidad de Santiago de
Universty Press, 2005, xvi, 300 pages. Compostela, 1997.

COMAS, Angel, De Hitchcock a Tarantino : DERRY, Charles, The Suspense Thriller :

enciclopedia del « neo-noir » norte Films in the Shadow of Hitchcock, Jefferson
americano, Madrid, T & B, 2005, 319 pages. (NC), McFarland, 1988, viii, 351 pages.
COMUZIO Ermanno & Aldo BERNARDINI, From a perspective sympathetic to popular
Flaherty, Hitchcock, Welles, Milano, Le culture, this study analyzes a large number of
letture, (I registi di letture, 2), 1978, 111 primarily American and European films by a
pages. variety of distinguished directors, including
Alfred Hitchcock, Claude Chabrol, John

9
Frankenheimer, Michelangelo Antonioni, and rereading Blackmail / Leland Poague -- Alfred
Costa-Gavras. Indispensable to anyone Hitchcock's murder: theater, authorship, and
interested in understanding how suspense the presence of the camera / William Rothman
thrillers work and what they mean, this book -- Consolidation of a classical style: The man
provides insightful analysis of hundreds of who knew too much / Elizabeth Weis --
memorable films, while at the same time Through a woman's eyes: sexuality and
working as a virtual how-to manual for anyone memory in The 39 steps / Charles L.P. Silet --
trying to write a Hitchcock-like thriller. Rematerializing the vanishing "lady": feminism,
Hitchcock, and interpretation / Patrice Petro --
DeROSA, Steven, Writing with Hitchcock : All in the family: Alfred Hitchcock's Shadow of
The Collaboration of Alfred Hitchcock and a doubt / James McLaughlin -- The moral
John Michael Hayes, New & London, Faber & universe of Hitchcock's Spellbound / Thomas
Faber, 2001, xvi, 334 pages. Hyde -- Notorious: perversion par excellence /
In spring 1953, the great director Alfred Richard Abel -- Strangers on a train / Robin
Hitchcock made the pivotal decision to take a Wood -- Hitchcock's Rear window: reflexivity
chance and work with a young writer, John and the critique of voyeurism / Robert Stam
Michael Hayes. The four films Hitchcock made and Roberta Pearson -- Finding the right man
with Hayes over the next several years Rear in The wrong man / Marshall Deutelbaum --
Window, To Catch a Thief, The Trouble with Harry, and Male desire, male anxiety: the essential
The Man Who Knew Too Much represented an Hitchcock / Robin Wood -- A closer look at
extraordinary change of style. Each was scopophilia: Mulvey, Hitchcock and Vertigo /
distinguished by a combination of glamorous Marian Keane -- North by northwest / Stanley
stars, sophisticated dialogue, and inventive Cavell -- "Oh, I see": The birds and the
plots, and resulted in some of Hitchcock s most culmination of Hitchcock's hyper-romantic
distinctive and intimate work, based in large vision / John P. McCombe -- Mark's Marnie /
part on Hayes's exceptional scripts. Michael Piso -- The queer voice in Marnie /
Screenwriter and film historian Steven DeRosa Lucretia Knapp -- Rituals of defilement: Frenzy
follows Hitchcock and Hayes through each film / Tania Modleski -- Psychosis, neurosis,
from initial discussions to completed picture perversion / Raymond Bellour -- Psycho's
and also reveals the personal story filled with allegory of seeing / Christopher D. Morris -- On
inspiration and humor, jealousy and frustration being Norman: performance and inner life in
of the initial synergy between the two men Hitchcock's Psycho / Deborah Thomas.
before their relationship fell apart
DOSSIER : Hitchcock côté cour, in Déca-
DEUTELBAUM, Marshall & Leland POAGUE drages, no 3, printemps 2004, Lausanne,
(eds.), A Hitchcock Reader, Ames (Iowa), Association Décadrages, 2004, 118 pages.
Iowa State University Press, 1986, xvii, 355 DOSSIER : Hitchcock/Lang, in Trafic, no 41,
pages. Réédition : Chichester, Wiley-Blackwell, printemps 2002, Paris, P.O.L., 2002, 173
2009, 394 pages. pages.
Hitch and his public / Jean Douchet -- DOSSIER : Dirigés pas Alfred Hitchcock/
Hitchcock's imagery and art / Maurice Yacowar Directed by Alfred Hitchcock, ensemble
-- Retrospective / Robin Wood -- Hitch as d’articles parus Visions dans du no 15 (Janvier
matrix figure: Hitchcock and twentieth century 1984) au no 20 (Juin 1984), réunis en un
cinema / John Orr -- Hitchcock's The lodger / volume à Bruxelles, APEC, 1984, 64 pages.
Lesley W. Brill -- Criticism and/as history: DOSSIER : Alfred Hitchcock, in Caméra/
Stylo, no 2, 1981, 160 pages. [Avec Jean-
André Fieschi, et al.,]
DOSSIER : Hitchcock, in Sight and Sound,
1999, 44 pages. [ Edited by Nick James]
DOSSIER : Speciale Hitchcock, in Cult
M o v i e [bimestriale di cultura e politica
cinematografica], Firenze, Spazio Uno, 1980,
40 pages.
DOSSIER : Alfred Hitchcock, in Premier
P l a n [Hommes, oeuvres, problèmes du
cinéma], Lyon, SERDOC, 1960 ( ?), 40 pages.
DOSSIER : Su Alfred Hitchcock, in
Filmcritica [Mensile di studi cinematografica],

10
vol. 32, no 311, janvier 1981, Montepulciano, incomparable dans l'histoire du 7e art.
Editori del grifo, 1981, 61 pages. Hitchcock est un style car il est un univers clos.
DOSSIER : Alfred Hitchcock, in Cinéma- Il a inventé un monde plus conforme à ses
tographe, no 59, juillet-août 1980, 59 pages. (nos) désirs. Avec quoi ? Son talent de cinéaste
DOSSIER : Alfred Hitchcock, in C i n é m a - ? Oui bien sûr, mais aussi avec sa vie
tographe, no 98, mars 1984, pp. 1-22. transmuée en une vision de femmes blondes et
DOTY, Alexander M., Alfred Hitchcock’s d'objets qui restent en nos mémoires : paire de
Films of the 1940s : The Emergence of lunettes, verre de lait, clé dans une paume
Personal Style and Theme within the moite...
Ameri can St udi o Syst em , thèse de
doctorat/PhD, Urbana-Champaign, University of DUNCAN, Paul, Alfred Hitchcock : archi-
Illinois, 1984, 380 pages. tecte de l’angoisse, 1899-1980, Köln,
London, etc, Taschen, 2003, 191 pages. Ed.
DOUCHET, Jean, Alfred Hitchcock, Paris, or. : Hitchcock : Architect of Anxiety, 1899
L’Herne, (L’Herne-cinéma, no 1), 1967, 167 -1980, Köln, London, et al., Taschen, 2003,
pages. 192 pages.
Le suspense. Le suspense ésotérique : Vertigo Ce livre, qui retrace l'ensemble de sa vie et de
– Le suspense esthétique : North by Northwest, sa carrière, de ses premiers films muets à son
Psycho – Le suspense de la création : The dernier long métrage en 1976, contient
Birds – Le symbolisme hitchcockien – Le regard également un bonus spécial que les fans
– la matière – Filmographie. d'Hitchcock apprécieront tout particulièrement:
une liste illustrée et annotée de chacun de ses
DROESE, Kerstin, Thrill and Suspense in caméos.
den Filmen Alfred Hitchcocks, Coppengrave,
Coppi Verlag, 1995, 151 pages. DURGNAT, Raymond, The Strange Case of
Alfred Hitchcock or the Plain Man’s
DRUMIN, William A., Thematic and Hitchcock, Cambridge (Mass.), The MIT Press,
Methodological Foundations of Alfred 1974, 419 pages. Réédition en 2004.
Hitchcock’s Artistic Vision, Lewiston, Edwin Raymond Durgnat delineates the many facets
Mellen Press, (Studies in History and Criticism of Alfred Hitchcock's prolific career and the
of Film), 2004, vi, 432 pages. controversies that these have aroused among
Preface; Foreword; Acknowledgements; Intro- the critics-- critics who have seen Hitchcock as
duction; Hitchcock Light and Dark; Chapter 1. master of the aesthetic "touch" and who prefer
The 39 Steps (1935); Chapter 2. Sabotage his English to his American period, or those for
(1936) Rites of Passage; Chapter 3 Young and whom Hitchcock is a dark Roman Catholic
Innocent (1937); Chapter 4. Shadow o/Doubt moralist. Durgnat's Hitchcock is a fascinating
(1943); Recovered Innocence; Chapter 5. mixture of contrarieties. He tends to admire
Notorious (1946); Chapter 6. Saboteur (1942); Hitchcock for his ability to tell a story and to
Monsters from the Id; Chapter 7. Rope (1948); control and manipulate order so that he can
Chapter 8. Strangers on a Train (1951); Telling play his audience with suspence, for his "rare
Illusion From Reality; Chapter 9. Stage Fright sense of how far dramatic conflicts can be
(1950); Chapter 10. Rear Window (1954); complicated and in which ways," and for the
Metaphysical Excursions; Chapter 11. Vertigo conjuction or layering of elements in films like
(1958); Chapter 12. The Birds (1963); "Rear Window", "Vertigo", and "Psycho", which
Hitchcock Dark and Light: Reprised; Chapter constitutes the real Hitchcock "touch."
13. Frenzy (1972); Chapter 14. North by
Northwest (1959); Summary: Hitchcock's EDEMA, Patricia Stella, Alfred Hitchcocks
Primary Philosophical Themes; Appendices: Filme im Zeichen der künstlerischen
Cinematic Explorations of Consciousness; Moderne : Expressionismus, Pittura
Appendix 1. Suspicion (1941); Appendix 2. metafisica, Surrealismus, Saarbrücken, VDM
B rea kdown (TV S hort Film, 1955); Verlag Dr. Müller, 2008, 168 pages.
Bibliography; Index Das Buch untersucht die Wirkungsbezüge der
klassischen Avantgarde auf die Formsprache
DUFREIGNE, Jean-Pierre, Le Style Hitchcock, der Filme \"Psycho\" (1960), \"Strangers on a
Paris, Assouline, 2004, 167 pages. Train\" (1951), \"Spellbound\" (1945),
Premier livre sur Hitchcock qui ne soit pas un \"Vertigo\" (1958) und \"Rear Window\"
livre de cinéma, cet ouvrage emprunte à la (1954), die in maßgeblicher Weise die
mode, à la décoration et à la photographie pour Ausdruckswerte der Moderne in ihre
restituer un esprit d'élégance à ce jour Bilderwelten projizieren.

11
ELLIOTT, Paul, Hitchcock and the Cinema of
Sensations : Embodied Film Theory and
Cinematic Reception, London, Tauris Aca-
demic Studies, (International Library of Visual
Culture, 2), 2011, 231 pages.
Through the prism of Alfred Hitchcock's films,
we explore how our bodies and sensual
memory enable us to quite literally 'flesh out'
what we see on screen: the trope of nausea in
Frenzy, pollution and smell in Shadow of a Doubt,
physical sound reception in the Psycho shower
scene and the importance of corporeality and
closeness in Rear Window. We see how the
body's sensations have a vital place in
cinematic reception and the study of film.

ESTÈVE, Michel (dir.), Alfred Hitchcock,

Paris, Minard, Lettres Modernes, (Études
cinématographiques, nos 84/87), 1971, 173 FORREST, Sean K., The Catholic Hitchcock,
pages. mémoire, Boulder, University of Colorado,
EUGÈNE, Jean-Pierre, La Musique dans les 2010, 84 pages.
films d’Alfred Hitchcock, Paris, Dreamland,
2000, 191 pages. Préface de Pierre Leconte. FREEDMAN, Jonathan & Richard MILLINGTON
FABBRI, Marina (dir.), Hitchcock : il maestro (eds.), Hitchcock’s America, New York,
negato : bibliografia e filmografia critica, Oxford University Press, 1999, viii, 192 pages.
Roma, La Meridiana editori, 1991, 150 pages. Introduction, Jonathan Freedman and Richard
[ricerce bibliografica di Francesca Fanuele e Millington
Maria Paola Sutto] 1. Love, American Style: Hitchcock's
FELDVOSS, Marli, Joseph GARNCARZ, Jan- Hollywood, Debra Fried
Christopher HORAK, Obsessionen. Die Alp- 2. Unveiling Maternal Desires: Hitchcock and
traumfabrik des Alfred Hitchcock, Marburg, American Domesticity, Elsie B. Michie
Schüren Verlag, 2000, 192 pages. 3. American Shame: Rope, James Stewart, and
FERNANDEZ CUENCA, Carlos, El cine brita- the Postwar Crisis in American Masculinity,
nico de Alfred Hitchcock, Madrid, Editoria Amy Lawrence
Nacional, (Libros de Bolsillo), 1974, 173 pages. 4. From Spellbound to Vertigo: Alfred Hitchcock
FERREIRA, Carlos Melo, O Cinema de Alfred and Therapeutic Culture in America, Jonathan
H i t c h c o c k , Porto, Ediçoes Afrontamento, Freedman
1985, 228 pages. 5. Hitchcock's Washington: Spectatorship,
FIÉVET, Laurent, Miroirs de Vénus : présen- Ideology, and "The Homosexual Menace" in
ce et fonction des références picturales Strangers on a Train, Robert J. Corber
dans les films d’Alfred Hitchcock réalisés 6. Rear-View Mirror: Hitchcock, Poe, and the
entre 1954 et 1964, thèse de doctorat, Paris Flaneur in America, Dana Brand
3, 2001, 2 microfiches. 7. Hitchcock and American Character: The
FINLER, Joe Waldo, Hitchcock in Hollywood, Comedy of Self-Construction in North by
New York, Continuum, 1992, 176 pages. Northwest, Richard H. Millington
Édition anglaise : Alfred Hitchcock : The 8. Hitchcock's Revised American Vision: The
Hollywood Years, London, Batsford, 1992, Wrong Man and Vertigo, Paula Marantz Cohen
176 pages. 9. Fearful Cemetery, Michael Wood.
FISCHER, Jens Malte, Filmwissenschaft,
Filmgeschichte : Studien zu Welles, FRÜNDT, Bodo, Alfred Hitchcock und seine
Hitchcock, Polanski, Pasolini und Max Filme, München, Heyne Verlag, (Heyne-Film
Steiner, Tübingen, G. Narr Verlag, 1983, 174 Bibliothek, no 91), 1986, 300 pages.
pages. GARCIA ROIG, José Manuel, La Arquitectura
FISCHER, Robert, Regie Alfred Hitchcock : del cine : estudios sobre Dreyer, Hitch-
Bilddokumentation seiner Kunst, Schon- cock, Ford y Ozu, Barcelona, Fundacion Caja
dorf/Ammersee, Programm Roloff u. Sesslen, de Arquitectos, (Arquia/temas, no 24), 2008,
1979, 96 pages. [Enzyklopädie des populären 183 pages.
Films, Bd. 1] GOGWILT, Christopher Lloyd, The Fiction of
Geopolitics : Afterimages of Cultures, from

12
Wilkie Collins to Alfred Hitchcock, Stanford Hitchcock: registrar of births and deaths /
(CA), Stanford University Press, 2000, xiii, 265 David Sterritt -- "A hero for our times": foreign
pages. correspondent, hero, and the bonfire of the
GONZALEZ REQUENA, Jesus, Escenas vanities / Leslie Brill -- Echoes of Alfred
fantasmaticas : un dialogo secreto entre Hitchcock's Vertigo, The birds, and Frenzy in
Alfred Hitchcock y Luis Bunuel – François Truffaut's Story of Adèle H. / James M.
Phantasmatic Scenes : A Secret Dialogue Vest -- The myth of apocalypse and the horror
between Alfred Hitchcock and Luis Bunuel, film: the primacy of Psycho and The birds /
Granada, Diputacion de Granada, 2011, 358 Christopher Sharrett -- "See it from the
pages. [Catalogue d’exposition] beginning": Hitchcock's reconstruction of film
history / Joan Hawkins -- Remaking Psycho /
GORDON, Paul, Dial M for Murder : a James Naremore.
Freudian Hitchcock, Madison (NJ), Fairleigh
Dickinson University Press, 2008, 256 pages. GOTTLIEB, Sidney & Richard ALLEN (eds.),
[Link] : dial "m" for mother : a The Hitchcock Annuel Anthology : Selec-
Freudian Hitchcock -- 2. Sometimes a cigar is ted Essays from volumes 10-15, London,
not just a cigar : Shadow of a doubt -- 3. Cast- Wallflower, 2009, vi, 265 pages.
ration by the Rear window -- 4. NTILEVER : This collection showcases the best essays from
Vertigo -- 5. ROT in North by northwest -- 6. the six issues of film studies' leading platform
Disrespectful respectabilities : Psycho -- 7. The for Hitchcock scholarship. Contributions include
end of the world : The Birds -- 8. A mother's works by Charles Barr, Thomas Elsaesser, Mark
love : Marnie -- 9. Pota-toes : Frenzy -- 10. Rappaport, Michael Walker, and Slavoj _i_ek,
Afterword : other Hitchcock films. among others, covering Hitchcock's entire
oeuvre, from his early silent films to his late
GOSETTI, Giogio, Alfred Hitchcock, Milano, Il American masterpieces. It contains an
Castoro, (Cinema), 1996, 198 pages. overview of Hitchcock criticism, a
GOTTLIEB, Sidney (ed.), Hitchcock on screenwriter's forum on "Working with Hitch,"
Hitchcock : Selected Writings and Inter- and early essays on film by both Hitchcock and
views, Berkeley, University of California Press, Alma Reville.
1995, xxxiv, 339 pages.
GOTTLIEB, Sidney (ed.), Alfred Hitchcock : GOTTLIEB, Sidney & Richard ALLEN (eds.),
I n t e r v i e w s , Jackson, University Press of The Hitchcock Annual 2010, New York,
Mississippi, (Conversations with Filmmakers), Columbia University Press, 2010, 178 pages.
2003, liv, 218 pages. Hitchcock in 1928: the auteur as autocrat /
Sidney Gottlieb -- An autocrat of the film studio
GOTTLIEB, Sidney & Christopher BROOKHOUSE / Alfred Hitchcock -- A perfect place to die? :
(eds.), Framing Hitchcock : Selected Es- the theater in Hitchcock revisited / Michael
says from the Hitchcock Annual, Detroit, Walker -- Reflections on the making of To catch
Wayne State University Press, (Contemporary a thief : André Bazin, Sylvette Baudrot, Grace
Film and Television Series), 2002, 418 pages. Kelly, Charles Vanel, and Brigitte Auber /
Early Hitchcock: the German influence / Sidney James M. Vest -- What we don't see, and what
Gottlieb -- German Hitchcock / Joseph we think it means : ellipsis and occlusion in
Garncarz -- Easy virtue's frames / Christopher Rear window / James MacDowell -- The
Morris -- The diabolic imagination: Hitchcock, destruction that wasteth at noonday :
Bakhtin, and the carnivalization of cinema / Hitchcock's atheology / David Sterritt -- Gus
David Sterritt -- Hitchcock's Emersonian edges Van Sant's mirror-image of Hitchcock : reading
/ Frank M. Meola --Hitchcock and the art of the Psycho backwards / Graig Uhlin -- Hitchcock,
kiss: a preliminary survey / Sidney Gottlieb -- unreliable narration, and the stalker film /
Hitchcockian haberdashery / Sarah Street -- Malcolm Turvey.
Hitchcock's hands / Sabrina Barton -- The
Hitchcock moment / Thomas M. Leitch -- GRANOF, Corinne & Will SCHMENNER (eds.),
Writings for Hitch: an interview with Evan Casting a Shadow : Creating the Alfred
Hunter / Charles L.P. Silet -- An interview with Hitchcock Film, Evanston (Ill), Mary and
Jay Presson Allen / Richard Allen -- Hitchcock Leigh Block Museum of Art, Northwestern
the feminist: rereading Shadow of a doubt / University, 2007, 155 pages.
Thomas Hemmeter -- Rear window, or the GRIMONPREZ, Johan (ed.), Looking for
reciprocated glance / John A. Bertolini -- Alfred, München, Pinakothek der Moderne,
Engendering Vertigo / Leland Poague -- Avian 2007, 286 pages.
metaphor in The birds / Richard Allen -- Alfred

13
HAHN, Ronald M. & Rolf GIESSEN, Alfred HOCHEDEZ, Henry, L’Anxiété chez Alfred
Hitchcock : der Meister der Angst, Hitchcock : à la logique de l’absurde on
München, Droemer Knaur, 1999, 195 pages. préfère l’absurdité de la logique, Mémoire
HALEY, Michael, The Alfred Hitchcock de DU, Lille 2, 2002, 20 pages.
Album, Englewood Cliffs (NJ), Prentice-Hall,
1981, 177 pages. HÖLTGEN, Miriam-Maleika, Schwarz-Weisse
Engel : Präsentationsformen des Weib-
HARE, William, Hitchcock and the Methods lichen im britischen Werk Alfred
of Suspense, Jefferson (NC), McFarland, Hitchcocks, Köln, Teiresias Verlag, 2004, 117
2007, vii, 351 pages. Préface de Robert pages.
Kendall. Im Fokus stehen die Untersuchungen der
This work examines themes, techniques, and Konzeption von Weiblichkeit in Hitchcocks (und
the filmmaking process in 15 of Hitchcock’s Großbritanniens) erstem Tonfilm Blackmail aus
best known films: The 39 Steps, Rebecca, dem Jahr 1929. In vielen Filmen Hitchcocks
Shadow of a Doubt, Spellbound, Notorious, wird der männliche Blick auf das Weibliche
Rope, Strangers on a Train, Rear Window, The gezeigt; das ist (formal wie inhaltlich)
Man Who Knew Too Much, Vertigo, North by besonders in Blackmail der Fall. Das Buch
Northwest, Psycho, The Birds, Frenzy and möchte die vielfältigen Ausformungen
Family Plot. It explores the auteur’s treatments patriarchaler Diskurse wie sie in Blackmail
of psychoanalysis, voyeurism, and collective vorherrschen aufzeigen und analysieren.
fears during the Cold War.
HÖSS, Tilman, Poe, James, Hitchcock : die
HAMILTON, John, Hitchcock’s Blonde : The Rationalisierung der Kunst, Heidelberg,
Real Story Behind a Macabre and Secret Winter, (American Studies, v. 111), 2003, 287
Obsession – Grace Kelly and Alfred pages.
Hitchcock, Bristol, Hemlock Books, 2009, 250 Durch die exemplarische Analyse von Edgar
pages. Allan Poe, Henry James und Alfred Hitchcock
Alfred Hitchcock was the most celebrated wird "Zweckrationalität" (Weber) als Motor der
director of his generation, but his murder Ausdifferenzierung einer autonomen
mysteries and thrillers hid the secrets of his ästhetischen Sphäre sichtbar. Doch während
own sexual repression.. Grace Kelly was the die Ästhetiken der drei Künstler die
most beautiful female star of her day, known Rationalisierung bejahen, sind ihre Werke von
on-screen for her glacial aloofness and off- Skepsis und Ironie geprägt. Auch in der Kunst
screen for her sexual appetites.. Together, they scheint es eine Dialektik der Aufklärung zu
made three celebrated movies and Grace Kelly geben.
s influence on Alfred Hitchcock was as profound
as it was disturbing.. His obsession with the HUMPHRIES, Patrick, The Films of Alfred
actress shaped not only his films but his Hitchcock, London, Hamlyn, (Bison Books), &
relationships with the opposite sex for the rest New York, Portland House, 1986, 192 pages.
of his life.
HUNTER, Evan, Hitch et moi, Paris, Ramsay,
HARRIS, Robert & Michael S. LASKY, Alfred (Ramsay Cinéma), 2006, 235 pages. Préface
Hitchcock, Paris, H. Veyrier, 1982, 236 pages. de Jean-Luc Douin. Ed. or. : Me and Hitch,
Réédition : Les Films d’Alfred Hitchcock, London, Faber & Faber, 1997, 91 pages.
1990. Ed. or. : The Films of Alfred Le récit d'Evan Hunter se révèle fascinant à
H i t c h c o c k , Secaucus (NJ), Citadel Press, plus d'un titre. Il nous dépeint. avec un humour
1976, 248 pages. toujours caustique, un " Maître du suspense "
HELBIG, Jörg, Paul LESCH & Uli JUNG, Three au naturel, tantôt généreux et émouvant,
Spotlights on Hitch, Luxembourg, Cinéma- tantôt capricieux et mesquin. C'est aussi un
thèque municipale, 1999, 65 pages. formidable témoignage de l'intérieur sur la "
HIMPLER, Michael, Paradigmenwechsel in méthode Hitchcock ". à un moment charnière
der Konstruktion von Musik zu Filmen de la carrière du cinéaste, obsédé par l'idée de
Alfred Hitchcocks, München, Grin verlag, tourner à nouveau avec Grace Kelly et désireux
2001, 23 pages. enfin d'être reconnu comme un artiste et non
HITCHCOCK O’CONNELL, Patricia & Laurent comme une raconteur d'histoire. Le texte inédit
BOUZEREAU, Alma Hitchcock : The Woman de Jean-Luc Douin, critique de cinéma au
Behind the Man, New York, Berkeley Books, Monde, qui se livre ensuite à un inventaire des
2003, 289 pages. thèmes hitchcockiens, est complété par une
analyse de Donald Spoto sur " Les Oiseaux " et

14
par quelques correspondances de Hitchcock et community, and, most important, changes in
d'Evan Hunter. Enfin, Pierre Brévignon, critical theory which for the first time allowed
traducteur. commente les rapports ambigus du for the idea of director as auteur.
cinéaste avec les scénaristes de ses films.
KASKA, Kathlee, The Alfred Hitchcock
HURDLEY, Joanna, Alfred Hitchcock to Me Triviography & Quiz Book, Los Angeles,
and Back Again, Totnes, Darlington College of Renaissance Books, 1999, 222 pages.
Arts, 1998, 12 pages. KIM, Mi-Jeong, Delta Woman with Faulkner
and Hitchcok, thèse de doctrat/PhD, Albany,
HURLEY, Neil P., Soul in Suspense : Hitch- State University of New York, 2011, 239 pages.
cock’s Fright and Delight, Metuchen (NJ), KENT, Carol Fleisher, Constrained Extre-
Scarecrow Press, 1993, xx, 364 pages. mists : Generic Constraint and Trans-
Neil Hurley demonstrates Hitchcock's covert gression in the Work of Flannaery
preoccupation with spiritual themes — O’Connor and Alfred Hitchcock, thèse de
conscience, guilt, false accusation, crises as doctorat/Ph D, Boston, Brown University, 1992,
catalysts of character development, personal 246 pages.
romance, the salvation of nations, and the KLINGHOLZ, Friederike, Alfred Hitchcock
"unjustly accused." This last theme is linked in oder : wie ich lernet die Bombe zu
profound ways to Hitchcock's secular Christ fürchten : die Suspendierung des Wissens-
types, who find purpose and undiscovered vo rsprung. Suspense al s vi suel l e
courage and companionship in having to K o n z e p t i o n , Würzburg, Königshausen &
disprove falsely imputed guilt in I Confess, The Neumann, 2010, 190 pages.
Wrong Man, Veritgo, North by Northwest, KLOPPENBURG, Josef, Die dramatische
Psycho, The Birds, Marnie, and Frenzy. (The Funktion der Musik in Filmen Alfred
last three also feature feminine Christ parallels Hitchcocks, München, W. Fink, 1986, 297
who undergo Passion/Resurrection experiences pages.
marked with visual religious clues.) KRAFT, Jeff, Footsteps in the Fog : Alfred
Hitchcock’s San Francisco, Santa Monica
IZAGUIRRE, Boris, El armario secreto de (CA), Santa Monica Press, 2002, 286 pages.
Hitchcock, Pozuela de Alarcaon (Madrid), Préface de Patricia Hitchcock O’Connell.
Espasa Calpe, 2005, 251 pages. KROHN, Bill, Alfred Hitchcock au travail,
JACOBS, Steven, The Wrong House : The Paris, Cahiers du Cinéma, 1999, 287 pages. Ed.
Architecture of Alfred H i t c h c o c k, or. : Hitch at Work, London, Phaidon, 2000,
Rotterdam, 010 Publishers, 2007, 342 pages. 287 pages.
JENDRICKE, Bernhardt, Alfred Hitchcock, KROHN, Bill, Alfred Hitchcock, Paris, Cahiers
Reinbek bei Hamburg, Rowohlt, 1993, 158 du cinéma, (Grands cinéastes, 25), 2007, 94
pages. pages.
KAGANSKI, Serge, Alfred Hitchcock, Paris, KURBIS, Susan C., Ecstasy and Agony : The
Hazan Éditions, (Pocket Archives. Lumières, 1), Melodramatic Visions of Douglas Sirk and
1997, 199 pages. Alfred Hitchcock, mémoire, Uiversity of
Alberta, 2003, 108 pages.
KAPSIS, Robert E., Hitchcock : The Making LALONDE, Marc, Hitchcock et le suspense :
of a Reputation, Chicago, University of l’influence d’Eisenstein, Mémoire de
Chicago Press, 1992, xvi, 313 pages. maîtrise, Université de Montréal, 1985, i
Through a close examination of Hitchcock's microfilm.
personal papers, scripts, production notes,
publicity files, correspondence, and hundreds of LaVALLEY, Albert J. (ed.), Focus on Hitch-
British and American reviews, Robert Kapsis cock, Englewood Cliffs (NJ), Prentice-Hall, (A
here traces Hitchcock's changing critical Spectrum Book), 1972, vi, 186 pages.
fortunes. Vertigo, for instance, was considered a Vue d’ensemble de l’oeuvre avec 5 entrevues,
flawed film when first released; today it is des articles d’Hitchcock, des réactions de
viewed by many as the signal achievement of a critiques, une analyse des films.
great director. According to Kapsis, this
dramatic change occurred because the making LECONTE, Serge, Perversité et perversion
of the Hitchcock legend was not solely dans les films d’Alfred Hitchcock, thèse de
dependent on the quality of his films. Rather, doctorat, Aix-Marseille, 1992.
his elevation to artist was caused by a LEFF, Leonard J., Hitchcock & Selznick : The
successful blending of self-promotion, Rich and Strange Collaboration of Alfred
sponsorship by prominent members of the film Hitchcock and David O. Selznick, Berkeley,

15
University of California Press, 1987, xiii, 383 11. Aesthetic Space in Hitchcock (Brigitte
pages. Peucker).
12. Hitchcock and Music (Jack Sullivan).
LEITCH, Thomas M., Find the Director and 13. Some Hitchcockian Shots (M u r r a y
Other Hitchcock Games, Athens, University Pomerance).
of Georgia Press, 1991, x, 296 pages. Part V Development.
Developing a model of narrative based on 14. Hitchcock's Silent Cinema (Sidney Gottlieb).
game theory, Thomas Leitch offers a 15. Gaumont Hitchcock (Tom Ryall).
compelling new explanation for the 16. Hitchcock Discovers America: The Selznick-
distinctiveness and power of Hitchcock's films. Era Films (Ina Rae Hark).
Games such as the director's famous cameo 17. From Transatlantic to Warner Bros. (David
appearances, the author says, allow the Sterritt).
audience simultaneously to immerse itself in 18. Hitchcock, Metteur-en-scène: 1954–60 (Joe
the world created by the narrative and to stand McElhaney).
outside that world and appreciate the self- 19. The Universal Hitchcock (William Rothman).
consciously suspenseful or comic techniques Part VI Auteurism.
that make the movie peculiarly Hitchcockian. 20. French Hitchcock, 1945–55 (James M. Vest).
21. Lost in Translation? Listening to the
LEITCH, Thomas M. , The Encyclopedia of Hitchcock–Truffaut Interview (Janet Bergstrom).
Alfred Hitchcock, New York, Facts on Files, 22. Robin Wood's Hitchcock (Harry Oldmeadow).
(Library of Great Filmmakers), 2002, xxx, 418 Part VII Ideology.
pages. Préface de Gene D. Phillips. 23. Accidental Heroes and Gifted Amateurs:
Biographical entries are generally short and Hitchcock and Ideology (Toby Miller with Noel
numerous, seemingly covering everyone who King).
ever appeared in or worked on Hitchcock's 24. Hitchcock and Feminist Criticism: From
productions. The book also include entries for Rebecca to Marnie (Florence Jacobowitz).
prominent biographers and critics. Each film 25. Queer Hitchcock (Alexander Doty).
analysis discusses its significance in the Part VIII Ethics.
director's oeuvre as well as describing the plot, 26. Hitchcock and Philosophy (Richard Gilmore).
characters, acting, production details, critical 27. Hitchcock's Ethics of Suspense:
response, and other notable data Psychoanalysis and the Devaluation of the
Object (Todd McGowan).
LEITCH, Thomas M. & Leland POAGUE (eds.), 28. Occasions of Sin: The Forgotten Cigarette
A Companion to Alfred Hitchcock, Malden Lighter and Other Moral Accidents in Hitchcock
(MA), Wiley-Blackwell, (W.B. Companions to (George Toles).
Film Directors), 2011, 624 pages. Part IX Beyond Hitchcock.
Introduction (Thomas Leitch and Leland Poague). 29. Hitchcock and the Postmodern (Angelo
Part I Background. Restivo).
1. Hitchcock's Lives (Thomas Leitch). 30. Hitchcock's Legacy (Richard Allen).
2. Hitchcock's Literary Sources (Ken Mogg). Index.
3. Hitchcock and Early Filmmakers (Charles
Barr). MADER, Shannon Edward, « That Pudgy
4. Hitchcock's Narrative Modernism: Ironies of Colossus of Movie Melodrama » : The
Fictional Time (Thomas Hemmeter). Films of Alfred Hitchcock, The Melodra-
Part II Genre. matic Tradition, and the Postwar Discou-
5. Hitchcock and Romance (Lesley Brill). rse of Irony, thèse de doctorat/PhD,
6. Family Plots: Hitchcock and Melodrama University of Southern California, 2002, 200 p.
(Richard R. Ness). MANZ H. P., Alfred Hitchcock : eine
7. Conceptual Suspense in Hitchcock's Films Bildchronik, Zürich, Sanssouci, 1962, 92
(Paula Marantz Cohen pages.
Part III Collaboration. MARIDAKIS, Alexandra, Les Rêves chez
8. "Tell Me the Story So Far": Hitchcock and Alfred Hitchcock, Mémoire de maîtrise, Paris
His Writers (Leland Poague). 3, 2001, 94 pages.
9. Suspicion: Collusion and Resistance in the MARIDAKIS, Alexandra, La Figure du couple
Work of Hitchcock's Female Collaborators (Tania chez Alfred Hitchcock, Mémoire DEA, Paris 3,
Modleski). 2003, 2 volumes, 110 et 56 pages.
10. A Surface Collaboration: Hitchcock and MARTIN, Muriel, L’Homme qui aimait les
Performance (Susan White). femmes : Alfred Hitchcock présente...,
Part IV Style. Mémoire, Grenoble IEP, Saint-Martin d’Hères,

16
IEP, 1992, 177 pages. A travers l'analyse détaillée de sept films
MARTINETTI, Anne & François RIVIÈRE, La phares (Chantage, Meurtre, Rebecca, Les
Sauce était presque parfaite : 80 recettes Enchaînés, Fenêtre sur cour, Vertigo et
d’après Alfred Hitchcock, Paris, Cahiers du Frenzy), l'auteur montre que le propos
Cinéma, 2008, 167 pages. d'Hitchcock concerne la construction sociale et
MARTINEZ, Elisa Maria, Hitchcock : image- psychologique des identités et des rapports de
nes entre lineas, Valencia, Publicacions de la sexe, et que sa capacité à s'identifier et à nous
Universitat de Valencia, 2011, 253 pages. faire nous identifier à des protagonistes aussi
bien masculins que féminins exprime
MAXFORD, Howard, The A-Z of Hitchcock : l'ambivalence fondamentale de son rapport aux
the Ultimate Reference guide, London, B.T. femmes. Ni misogyne, ni féministe, Hitchcock
Batsford, 2002, 303 pages. nous émeut parce qu'il nous renvoie à nos
This unique compendium covers his entire propres contradictions et à nos propres
career in a user-friendly, easy-reference, A-to- souffrances.
Z format for the first time. Each entry includes
a complete film synopsis with a detailed MOERBEEK, Kees, Alfred Hitchcock : The
critique; cast and credit listings; video, Master of Suspense, London, Simon &
laserdisc and DVD availability; and soundtrack Schuster Children, 2006, 16 pages. Livre
availability. Plus, there's inside info on illustré avec des pop-ups, pour la jeunesse.
Hitchcock's trademark appearance in each film,
all his television work, and unrealized and MOESSLANG, Michael, So würde Hitchcock
unfinished films, as well as biographies for all präsentieren : überzeugen sie mit dem
Hitchcock's lead actors, key cinematographers, Meister der Spannung, München, Redline
technicians, composers, and special effects Verlag, 2011, 288 pages.
people. Illustrated throughout. Michael Moesslang stellt Stilmittel und
Techniken vor, mit denen Hitchcock seine
McBRIDE, Ryan, Fatal Spaces : Alfred Zuschauer fesselte, und zeigt, wie diese auch
Hitchcock, Fritz Lang and the Art of für Präsentationen genutzt werden. Suspense,
Murder, Saarbrücken, VDM Verlag Dr. Müller, die Unsicherheit der Zuhörer, was kommt,
2007, 92 pages. wohldosierter Humor und überraschende
McCARTHY, John & Brian KELLEHER, Alfred Wendungen sind nur einige der Mittel, um die
Hitchcock Presents : An Illustrated Guide Zuschauer bzw. -hörer in den Bann zu ziehen.
to the Ten-Year Television Career of the Publikum und Vorgesetzte werden dankbar
Master of Suspense, New York, St. Martin’s sein!
Press, 1985, xiv, 338 pages.
McELHANEY, Joe, The Death of Classical MORRIS, Christopher D., The Hanging
Cinema : Hitchcock, Lang, Minnelli, Albany, Figure : On Suspense and the Films of
State University of New York Press, (SUNY Alfred Hitchcock, Westport (Conn.), Praeger,
Series, Horizons of Cinema), 2006, xiv, 255 2002, xii, 314 pages.
pages. Theories of Suspense; Current Theories of
McNAMARA, Donald D., Alfred Hitchcock’s Suspense; Hitchcock on Suspense; The
Symbolic Fantasies : A Comedy of Iconography of the Hanging Figure; The
Narrative Form, thèse de doctorat/PhD, Hanging Figure in Non-Cinematic Visual Art;
University of Missouri, Columbia, 1983, 342 The Hanging Figure in Hitchcock's Films;
pages. Suspense in Hitchcock; "The Lodger" - Deferred
MILKE, Inga, Die Visualisierung von Sus- Identity in the Crucified Figure; "Easy Virtue" -
pense in Hitchcocks Filmen, Hamburg, Framed Nothing; "The Ring" - The Circularity of
Diplomica, 2000, 125 pages. Reading; "Spellbound" - The Suspense of Black
MINUZ, Andre, Dell’incantamento : Hitch- Marks on White; "Notorious" - Thresholds in
cock, Bergman, Fellini e il motivo dello the Glamourously Dangerous Charade; "Rope"
sguardo, S. Maria C.V., Ipermedium libri, - Suspense as the Absent Referent; "Vertigo" -
2009, 148 pages. The Futile Search for Something Tenable;
"North By Northwest - Groundless Figuration;
MODLESKI, Tania, Hitchcock et la théorie "Psycho" - Empty Interiors; "The Birds" - Signs
féministe : les femmes qui en savaient of a World Without Cause or Meaning; "Torn
trop, Paris, L’Harmattan, (Champs visuels), Curtain" - The Hanging Figure; Afterword -
2002, 185 pages. Ed. or. : The Women Who Figures of Suspense.
Knew too Much : Hitchcock and Feminist
Theory, New York, Methuen, 1988, 149 pages.

17
MOSCATI, Italo, Hitchcock : il laboratorio Demme's The Silence of the Lambs
dei brividi, Roma, Rai Eri : Ediesse, Lesley Brill
(Cinema/lavoro), 2009, 237 pages. II: The Return of the Repressed
MUINELO ALARCON, Gonzalo, Los 100 anos 3. Shadows of Shadow of a Doubt : Adam Knee
de la vida y la obra cinematografica de 4. Psycho or Psychic? Hitchcock, Dead Again,
Alfred Hitchcock, Valladolid, Fancy, 1999, and the Paranormal : Ina Rae Hark
285 pages. III: The Politics of Intertextuality
NARBONI, Jean (dir.), Alfred Hitchcock, 5. The Hitchcock Romance and the \'70s
Paris, Éditions de l’Étoile, 1980, 108 pages. Paranoid Thriller : R. Barton Palmer
Réalisé avec la collaboration d’Emmanuèle 6. Exposing the Lies of Hitchcock's Truth
Bernheim et de Claudine Paquot, cet ouvrage Walter Metz
contient la reproduction, en fac-simile des IV: Found in Translation
Cahiers du Cinéma, no 39, octobre 1954, un 7. Red Blood on White Bread: Hitchcock,
numéro culte avec, entre autres, des textes de Chabrol, and French Cinema : Richard Neupert
François Truffaut et de Claude Chabrol. 8. "You're Tellin' Me You Didn't See":
Hitchcock's Rear Window and Antonioni's
NEEF, Lisa, Scare Tactics : Poe, Hitchcock Blow-Up : Frank P. Tomasulo
and the Modern Suspense Story, München, 9. Melo-Thriller: Hitchcock, Genre, and
Grin Verlag, 2001, 23 pages. Nationalism in Pedro Almodovar's Women on
NITSCHE, Lutz, Hitchcock, Greenaway, the Verge of a Nervous Breakdown : Ernesto R.
Tarantino. Paratextuellen Attraktionen des Acevedo-Munoz
Autorenkinos, Stuttgart, J. B. Metzler, 2002, 10. "Knowing Too Much" about Hitchcock: The
ix, 229 pages. Genesis of the Italian Giallo : Philippe Met
NOBLE Peter, Index to the Work of Alfred V: Theoretically Hitchcockian
Hitchcock, supplément de Sight and Sound, 11. Death at Work: Hitchcock's Violence and
London, no 18, 1949, 42 pages.Réédition : Spectator Identification : Robert Sklar
New York, Gordon Press, 1980, 40 pages. 12. Hitchcock and the Classical Paradigm :
John Belton
ORR, John, Hitchcock and Twentieth- VI: Modus Operandi
Century Cinema, London, Wallflower Pres, 13. How to Steal from Hitchcock : Thomas M.
2005, vii, 207 pages. Leitch
Alfred Hitchcock worked in Britain and America,
in silent and sound films, and through and PALMER, R. Barton & David BOYD (eds.),
beyond the studio system, all the time Hitchcock at the Source : The Auteur as
appealing to mass audiences while employing Adaptor, Albany (NY), SUNY Press, (SUNY
his own distinctive style. This book examines series : Horizons of Cinema), 2011, viii, 327
how he was affected by German cinema, British pages.
writing, the Hays Code and his own upbringing Introduction: Recontextualizing Hitchcock’s
to produce films that challenged key notions of Authorship : David Boyd and R. Barton Palmer
acting, sexuality, mise-en-scène and narrative 1. Hitchcock from Stage to Page : Thomas Leitch
convention. 2. Hitchcock and the Three Pleasure Gardens
Sidney Gottlieb
3. Hitchcock and The Manxman: A Victorian
PAÏNI, Dominique & Guy COGEVAL (dir.), Bestseller on the Silent Screen : Mary Hammond
Hitchcock et l’art : coïncidences fatales, 4. Blackmail: Charles Bennett and the Decisive
Montréal, Musée des Beaux-Arts, Milano, Turn : Charles Barr
Mazzotta, 2000, 498 pages. [Catalogue 5. The Man Who Knew Too Much (1934): Alfred
d’exposition]. Hitchcock, John Buchan, and the Thrill of the
Chase : Mark Glancy
PALMER, R. Barton & Diavid BOYD (eds.), 6. Secret Agent: Coming in from the Cold,
Alfred Hitchcock : Influence, Imitation, Maugham Style : R. Barton Palmer
and Intertextuality, Austin (TX), University 7. The Lady Vanishes, but She Won’t Go Away :
of Texas Press, 2006, vi, 282 pages. Noel King and Toby Miller
Introduction 8. The Trouble with Rebecca : David Boyd
David Boyd and R. Barton Palmer 9. Depth Psychology on the Surface:
I: Psycho Recycled Hitchcock’s Spellbound : Alan Woolfolk
1. For Ever Hitchcock: Psycho and Its Remakes 10. Unrecognizable Origins: “The Song of the
Constantine Verevis Dragon” and Notorious : Matthew H. Bernstein
2. Hitchcockian Silence: Psycho and Jonathan 11. Morbid Psychologies and So Forth: The Fine

18
Art of Rope : David Sterritt PISTERS, Patricia, Lessen van Hitchcock :
12. Under a Distemperate Star: Under Capricorn een inleiding in mediatheorie, Amsterdam,
(1949) : Constantine Verevis Amsterdam University Press, 2004, 328 pages.
13. Bruno’s Game, or the Case of the Sardonic PISO, Michele, Alfred Hitchcock : For Loss
Psychopath : Douglas McFarland of the World, thèse de doctorat/PhD,
14. Alfred Hitchcock Presents Dial M for Murder: University of Oregon, 1986, 223 pages.
The Submerged Televisuality of a Stage-to-
Screen Adaptation : Ina Rae Hark POMERANCE, Murray, An Eye for Hitchcock,
15. The Author of This Claptrap: Cornell London & Pistcataway (NJ), Rutgers University
Woolrich, Alfred Hitchcock, and Rear Window Press, 2004, xi, 306 pages.
Pamela Robertson Wojcik Film scholar Murray Pomerance presents a
16. To Catch a Thief: Light Reading on a Dark series of fascinating meditations on six films
Topic : Hilary Radner directed by the legendary Alfred Hitchcock, a
17. Woman as Death: Vertigo as Source master of the cinema. Two of the films are
Barbara Creed extraordinarily famous and have been
18. Psycho: Trust the Tale : Brian McFarlane seen––and misunderstood––countless times:
19. Thirteen Ways of Looking at The Birds North by Northwest and Vertigo. Two others,
Murray Pomerance Marnie and Torn Curtain, have been mostly
20. A Brief Anatomy of Family Plot : Lesley Brill disregarded by viewers and critics or
considered to be colossal mistakes, while two
PARKER, Christina, Artificial Generation ; others, Spellbound and I Confess, have
The Hybridization of Female and Form in received almost no critical attention at
Gautier, Villiers, Wilde and Hitchcock, [Link] movies are seen in a striking new
thèse de doctorat/PhD, Emory University, way.
2010, 296 pages.
PEETERS, Benoît, Hitchcock : le travail du POTTS, Neill, The Television Work of Alfred
film, Paris, Impressions nouvelles, 1992, 95 Hitchcock, thèse de doctorat, University of
pages. Warwick, 2005, iv, 342 pages.
PRICE, Theodore, Hitchcock and Homo-
PERRY, Denis R., Hitchcock and Poe : The sexuality : His 50 Years Obsession with
Legacy of Delight and Terror, Lanham (MD), Jack the Ripper and the Superbitch
Scarecrow Press, (Filmmakers Series), 2003, Prostitute (A Psychoanalytic View),
xvii, 221 pages. Metuchen (NJ), Scarecrow Press, 1992, xvii,
Introduction: Hitchcock and Poe: eureka and 416 pages.
hitchcock's canon -- Ratiocination: original RAUBICHECK, Walter & Walter SREBNICK
unity: "The purloined letter" and murder -- (eds.), Hitchcock’s Rereleased Films; from
Apocalypse: crises of fragmentation: "The R o p e to V e r t i g o , Detroit Wayne State
masque of the red death" and The birds -- University Press, (Contemporary Films and
Inexplicable predicaments: diffusion from the Television), 1991, 302 pages. Foreword by
center: "The pit and the pendulum" and North Andrew Sarris.
by northwest -- Doubles: the universe of
others: "William Wilson" and Strangers on a RAUBICHECK, Alter & Walter SREBNICK,
train -- Imps of the perverse: diffusion from Scripting Hitchcock : Psycho, The Birds
the self: "The tell-tale heart" and Rope -- and Marnie, Urbana, Chicago, University of
Voyeurism: eyes of the perverse: "A man of Illinois Press, 2011, 160 pages.
the crowd" and Rear window -- Romantic Scripting Hitchcock explores the collaborative
obsession: return to transcendence: "The fall of process between Alfred Hitchcock and the
the house of Usher" and Vertigo -- Humor and screenwriters he hired to write the scripts for
horror: collapsing into unity: "Ligeia" and The three of his greatest films: Psycho, The Birds, and
39 steps. Marnie. Drawing from extensive interviews with
the screenwriters and other film technicians
PERRY, George C., The Films of Alfred who worked for Hitchcock, Walter Raubicheck
Hitchcock, Studio Vista, Dutton, 1965, 1160 and Walter Srebnick illustrate how much of the
pages. filmmaking process took place not on the set or
PILLITTERRI, Paolo & Roberto PROVENZANO in front of the camera, but in the adaptation of
(dir.), Fra suspense e psiconalaisi : il the sources, the mutual creation of plot and
cinema di Alfred Hitchcock, Milano, characters by the director and the writers, and
Arcipelago, 1991, 192 pages. the various revisions of the written texts of the
films.

19
REICHMAN, Hans-Peter (dir.), Hitchcock in wood, London, Vestry House Museum, 2000,
Frankfurt, Frankfurt am Main, Deutscher 16 pages. [Catalogue d’exposition]
Filmmuseum, , 2000, 63 pages. SALJE, Günther, Hitchcock : Regieanalyse –
[Catalogue d’exposition : Obsessionen : die Regiepraxis. Vorlesungstexte mit Übungs-
Alptraum-Fabrik des Alfred Hitchcok]. augaben zum Drehbuchschreiben, Bassum,
REUTER, Viebeke, Alfred Hitchcocks Hand- Media-Institut, 1996, 262 pages.[L’art du
schrift : vom literarischen zum filmischen scénario étudié surtout dans Psycho et L e s
Text, Trier, WVT Wissenschaftlicher Verlag Oiseaux. Avec exercices pratiques].
Trier, 2005, 203 pages. SALVADORI, Roberto (dir.), Alfred Hitch-
RIEGER, Eva, Alfred Hitchcock und die cock : la critica, il pubblico, le fonti lette-
Musik : eine Untersuchung zum Verhältnis rarie, Firenze, La Casa Usher, 1981, 139 p.
von Film, Musik und Geschlecht, Bielefeld, SAMUELS, Robert, Hitchcock’s Bi-Tex-
Kleine, (Wissenschaftliche Reihe, 84), 1996, tuality : Lacan, Feminism, and Queer
256 pages. Theory, Albany, State University of New York
Press, 1998, ix, 166 pages.
RIOU, Alain & Stéphane BOULAN, Hitch, Paris, SANDERS, Andre, Witnesses to Cold War : A
Avant-Scène du théâtre, (Quatre vents), 2011, Literary and Cultural Analysis of
68 pages. Préface de Gilles Costaz. Containments in 1950s Narratives by
En août 1962, dans les studios Universal à Hitchcock, Mailer, Kerouac, Ellison, Arnow,
Hollywood, François Truffaut, jeune cinéaste, and Nabokov, thèse de doctorat/Ph D, The
rencontre Alfred Hitchcock dans le but d'établir University of Chicago, 1996, 342 pages.
avec lui un livre d'entretiens et de révéler au SCHNAKENBERG, Robert, Alfred Hitchcock/
monde que le maître du suspense est aussi un Quentin Tarantino : Film Quickie, Hamburg,
créateur inspiré et profond. Mais pourquoi Literatur Quickie, 2011, 36 pages.
Hitchcock s'efforce-t-il de saboter l'entreprise ?
Et pourquoi donne-t-il parfois l'impression SCHROEDER, David, Hitchcock’s Ear : Music
d'être un pantin entre les mains d'Alma, son and the Director’s Art, London & New York,
énigmatique épouse ? Hitch raconte avec Continuum, mars 2010, 224 pages.
drôlerie un haletant combat à trois dont le Music is an underexplored dimension in
moteur est l'amour de l'art. Du septième art. Hitchcock's works. Taking a different view from
most works on Hitchcock, David Schroeder
ROHMER, Éric & Claude CHABROL, Hitchcock, focuses on how an expanded definition of
Paris, Éditions universitaires, (Classiques du music influences Hitchcock's conception of
cinéma), 1957, 182 pages. Réédition : Paris, cinema. The structure and rhythm of his films
Ramsay, (Ramsay Poche Cinéma), 2006, 173 is an important addition to the critical literature
pages. Préface de Dominique Rabourdin. on Hitchcock and our understanding of his films
Cet ouvrage canonique a été édité aux États- and approach to filmmaking. Looking at such
Unis sous le titre : Hitchcock, the First films as Vertigo, Rear Window, and Shadow of a
Forty-Four Films, New York, Ungar, 1979, x, Doubt, Schroeder provides a unique look at the
178 pages. way that Hitchcock thought about cinema in
musical terms.
ROSETTI, Riccardo (dir.), Hitchcock : tutti i
film, Roma, Savelli, 1980, 175 pages. SCHULZ, Berndt, Das Hitchcock-Krimi-
Kochbuch : Mord und Malzeiten, Weingar-
ROTHMAN, William, Hitchcock : the ten, Weingarten, 1995, 64 pages.
Murderous Gaze, Cambridge (Mass.), Harvard SERCEAU, Daniel & Fabienne SIZARET (dir.),
University Press, 1982, 317 page. Alfred Hitchcock, in Contre Bande, no 19,
RUIZ, José Ruiz Gonzalez, Hitchcock las 2010, Paris, Université de Paris –Panthéon-
preferia rubias, San Sebastian, Festival Sorbonne, 234 pages.
International de Cine de Donostia-San SHAPIRO, James D., One-Way Mirror : Self-
Sebastian, 1999, 38 pages. Aware Artifice in Hitchcock’s Narrative
RYALL, Tom, Alfred Hitchcock and the Cinema, thèse de doctorat/PhD, Berkeley,
British Cinema, London, Croom Helm & University of California, 1991, 303 pages.
Urbana, University of Illinois Press, 1986, ix, SHARFF, Stefan, Alfred Hitchcock’s High
193 pages. Réédition : London, Atlantic Vernacular : Theory and Practice, New
Highlands, 1996, x, 208 pages. Avec une York, Columbia University Press, 1991, 258
nouvelle introduction. pages.
SADLER, Nigel & Victoria COXON, Alfred SIMONE, Sam P., Alfred Hitchcock, Advo-
Hitchcock : from Leytonstone to Holly- cate of Freedom : A Study of Foreign

20
Correspondant, Saboteur, Lifeboat and SPERLICH, Uwe, Hermann – Hitchcock. A
Notorious, thèse de doctorat/PhD, Brigham Partnership in Terror. Die Bedeutung von
Young University, 1982, 435 pages. Bernard Hermanns Musik für V e r t i g o ,
SIMONE, Sam P., Hitchcock as Activist : North by Northwest und Psycho, München,
Politics and the War Films, Ann Arbor, Grin Verlag, 2010, 52 pages.
Michigan, UMI Research Press, (Studies in
Cinema, no 36), 1985, xii, 203 pages. STERRITT, David, The Films of Alfred
SIMONELLI, Giorgio, Invito al cinema di Hitchcock, Cambridge, Cambridge University
Alfred Hitchcock, Milano, Mursia, (Invito al Press, 1993, vii, 165 pages.
cinema, 3), 1996, 215 pages. STIEGLER, Christina, Die Bombe unter dem
Tisch : Suspense by Alfred Hitchcock –
SINGER, Irving, Three Philosophical Film- Oder wie viel weisst das Publikum wir-
makers : Hitchcock, Welles, Renoir, klich ?, Konstanz, UKV Verlag, 2011, 368 p.
Cambridge (Mass.), MIT Press, (The Irving
Singer Library), 2004, x, 279 pages. STRAUMANN, Barbara, Figurations of Exile
Singer's discussion of Hitchcock's work in Hitchcock and Nabokov, Edinburgh,
analyzes, among other things, his ideas about Edinburgh University Press, 2008, 240 pages.
suspense, romance, and the comic. Singer also Introduction: Cross-mapping Hitchcock and
makes a detailed comparison of the original Nabokov; Questions of Exile and Displacement;
Psycho with Gus Van Sant's recent remake. Home and Exile in Hitchcock and Nabokov;
Nabokov's Dislocations: Refiguring Loss and
SIZARET, Fabienne, La Question de Exile in Speak, Memory; Chronophobia; Family
l’humour au cinéma : l’exemple d’Alfred Romance; Poetics of Memory; 'Aesthetic Bliss'
H i t c h c o c k , thèse de doctorat, Universté and Its Allegorical Displacements in Lolita;
Panthéon-Sorbonne, Paris, 2004, 457 pages. Childhood Romance; Textual Relocations;
SLOAN, Jane E., Alfred Hitchcock : A Guide Language to Infinity; Hitchcock's Wanderings:
to References and Resources, New York, G. Inhabiting Feminine Suspicion; Traumatic
K. Hall, Oxford, Maxwell Macmillan, (A Fantasy; Family Murder; Aesthetics of
Reference Publication in Film), 1993, 602 Overproximity; Wandering and Assimilation in
pages. North by Northwest; Mad Traveller; Oedipal
SLOAN, Jane E., Alfred Hitchcock : A Voyage; Language of Exile and Assimilation;
Filmography and Bibliography, Berkeley, Epilogue: Psychoanalytic Dislocation;
University of California Press, 1995, xii, 614 Bibliography.
pages.
STRAUSS, Marc Raymond, Alfred Hitchcock’s
SMITH, Susan, Hitchcock : Suspense, Silent Films, Jefferson (NC), McFarland, vii,
Humour and Tone, London, British Film 215 pages.
Institute, 2000, xiii, 162 pages. This work discovers Hitchcock’s early talent and
The author's treatment of the works of the skill through close readings of the films from
most subtle of all film-makers analyzes the key The Pleasure Garden to the silent version of
elements of suspense, humour and tone across Blackmail, using shot-by-shot descriptions and
the whole of the director's career. Arguing that interpretations. Each film’s chapter includes
all three are central to our viewing experience technical information, a summary of the critical
the book aims to demonstrate how Hitchcock's response from the film’s release to the present,
integration of these elements is the key to his and detailed analysis of the camera techniques
success as a filmmaker. Films such as "North and themes Hitchcock uses.
by Northwest", "The Birds", "Shadow of a
Doubt" and "Notorious" amongst others are STRAUSS, Marc Raymond, Hitchcock None-
examined in detail. The book discusses the theless : The Master’s Touch in his Least
importance of the avoidance of cliche in Celebrated Films, Jefferson (NC), Mc Farland,
Hitchcock's narrative. 2007, xvi, 208 pages.
Alfred Hitchcock made many great films, but he
SPOTO, Donald, L’Art d’Alfred Hitchcock, also made many that critics and audiences
Paris, Édilig, 1986, (Cinégraphiques), 315 largely dismissed. These least celebrated films,
pages. Ed. or. : The Art of Alfred despite their admitted flaws and relative
Hitchcock : Fifty Years of his Motion obscurity, offer much to reward the open-
Pictures, New York, Hopkinson and Blake, minded viewer.__This critical study examines
1976, xv, 523 pages. Réédition : New York, and reappraises fifteen such films generally
Doubleday, 1992, xviii, 471 pages.

21
 overlooked by scholars and Hitchcock THEWELEIT, Klaus, Deutschlandfilme :
aficionados: Juno and the Paycock, The Skin Godard, Hitchcock, Pasolini : Filmdenken
Game, Waltzes from Vienna, Jamaica Inn, The & Gewalt, Frankfurt am Main, Stroem-
Paradine Case, Under Capricorn, I Confess, feld/Roter Stern, 2003, 295 pages.
Torn Curtain, Number Seventeen, Rich and
Strange, Secret Agent, Mr. and Mrs. Smith,
Stage Fright, The Wrong Man, and Topaz. Each TISSERON, Serge, Comment Hitchcock m’a
film is discussed and analyzed in detail, guéri : que cherchons-nous dans les
revealing the master’s touch in many images ?, Paris, Fayard/Pluriel, 2011, 168
previously unheralded ways [Link]. or. : Albin Michel, 2003.
Partant de son expérience personnelle, Serge
SULLIVAN, Jack, Hitchcock’s Music, New Tisseron évoque ici une expérience que la
Haven (Conn.), London, Yale University Press, fréquentation du cinéma d’Hitchcock devait lui
2006, xix, 354 pages. permettre de comprendre : « j’ai en effet vécu
For half a century Alfred Hitchcock created dans mon enfance la même situation que celle
films full of gripping and memorable music. des héros de ses films, cherchant sans y
Over his long career he presided over more parvenir à m’accrocher à un regard – celui de
musical styles than any director in history and ma mère – pour y trouver mon salut. »_Au-
ultimately changed how we think about film delà de cette évocation, c’est à une lecture
music. This book is the first to fully explore the analytique des fonctions de l’image
essential role music played in the movies of cinématographique que se livre l’auteur,
Alfred [Link] on extensive interviews ouvrant ainsi de nouveaux aperçus à la
with composers, writers, and actors, and cinéphilie.
research in rare archives, Jack Sullivan
discusses how Hitchcock used music to TOMLINSON, Doug R., Studies in the Use
influence the atmosphere, characterization, and and Vizualization of Film Performance :
even storylines of his films. Alfred Hitchcock, Robert Bresson, Jean
Renoir, thèse de doctorat/PhD, New York
TAYLOR, Alan, Jacobean Visions : Webster, University, 1986, 535 pages.
Hitchcock and Google Culture, Frankfurt am
Main, Peter Lang, 2007, 201 pages. TRUFFAUT, François, Le Cinéma selon
Hitchcock, Paris, Robert Laffont, 1966, 260
TIMM, Monika, Bit Parts : Alfred Hitchcock pages. Rééditions : Le Cinéma selon Alfred
und seine Cameos, Norderstedt, Books on Hitchcock : entretiens avec François
Demand, 2011, 156 pages. Truffaut, Paris, Seghers, 1975, 395 pages.
Alfred Hitchcock nannte seine zur Tradition Réédition : H i t c h c o c k , Paris, Ramsay,
gewordenen Kurzauftritte in seinen eigenen (Ramsay Poche Cinéma), 1986, 311 pages.
Filmen Bit Parts, als Cameos bezeichnen wir sie Hitchcock/Truffaut : édition définitive,
heute. Den Sinn oder Unsinn solcher Paris, Gallimard, 1993, 311 pages. Avec la
Erscheinungen will die Autorin in diesem Buch collaboration de Helen Scott.
entschlüsseln. Ausgehend von der Auffassung, Selon Pierre Ficheux, qui a un site sur
die Cameos seien das Persönlichste in seinen Hitchcock : LE livre sur Hitchcock.
Filmen, begibt sie sich auf die Spur des [Link]
Meisterregisseurs, dem Geschichtenerzähler,
Rätselwesen und Mythenmacher seiner selbst, UNGEREIT, Natascha, Die Untersuchung
Alfred Hitchcock. zwischenmenschlischer Beziehungen in
Hitchcockfilmen : ein Vergleich von Berü-
TESSIER, Bertrand & Loïc SELLIN (dir.), Le chtigt (Notorious) and Die Vögel (The
Grand Atlas Hitchcock, Evreux, Atlas & Issy- Birds) München, Grin Verlag, 2010, 135 p.
les-Moulineaux, Glénat, 2000, 400 pages.
Cet ouvrage est un hommage qui lui est rendu, VAN EYDE, Laurent, Vertige de l’image :
c'est aussi la plus complète mine de l’esthétique réflexive d’Alfred Hictchcock,
renseignements et d'anecdotes sur sa vie, son Paris, Presses universitaires de France, 2011,
œuvre, ses films. Le Grand Atlas Hitchcock 251 pages.
contentera tous les admirateurs du maître L’analyse de six films majeurs se veut une
anglais, qui y retrouveront en plus d'un texte contribution à une philosophie de l’image et de
clair et documenté, les plus belles photos de ses formes.
ses films dont de nombreux clichés saisis sur
les plateaux de tournage.

22
VEST, James M., Hitchcock and France : Ejakulationen, Stöhnen, Keuchen, Schreie,
The Forging of an Auteur, Westport (Conn.), Blutvergießen, Tränen, verdrehte Handgelenke,
Praeger, 2003, xiv, 222 pages. und mir ging auf, dass in Hitchcocks eher
In his bold new study of the career of one of sexuellem als sensuellem Kino der Liebesakt
filmmaking's premier directors, author James und der Tod eins sind.
M. Vest traces two intertwining strands of
history: Alfred Hitchcock's interest in French WEIBEL, Adrien, Spannung bei Hitchcock :
culture, and French critics' sometimes zur Funktionsweise des auktorialen
complementary, sometimes confrontational Suspense, Würzburg, Königshausen & Neu-
interest in him. In the 1950s, Hitchcock was mann, 2008, 251 pages.
increasingly committed to including French- Die dramatische Spannung ist ein Gütezeichen
related elements in his films to enhance jeder medialen Unterhaltung schlechthin und
suspense and humor. At that same time, young ein entscheidendes Kriterium bei der
critics in France-including François Truffaut, vorgängigen und nachträglichen Beurteilung
Claude Chabrol, Eric Rohmer, and Jean-Luc insbesondere des filmischen Unterhaltungs-
Godard-discovered in Hitchcock's films the angebots. Alfred Hitchcock hat es als Regisseur
mark of an auteur. eines prae-digitalen Filmzeitalters stets
meisterhaft verstanden, seine Zuschauer allein
VIEL, Tanguy & Florent CHAVOUET, Hitch- mit den Mitteln eines raffinierten Erzähl-
cock, par exemple, Paris, Naïve, (Livres diskurses und namentlich einer geschi-ckten
d’heure), 2010, 58 pages. [Titre trompeur : il Inszenierung von suspense nachhaltig in Atem
est question ici des 10 films préférés de zu halten. Seine Technik der Spannungs-
l’auteur] erzeugung beruht auf einer subtilen Art der
Informationsverteilung, die sich durch den
VILLIEN, Bruno, Hitchcock, Paris, Colona, Aufbau eines auktorialen Wissens-vorsprungs
1982, 359 pages. gegenüber dem Protago-nisten auszeichnet,
VILLIEN, Bruno, Hitchcock, Paris, Rivages, und den Zuschauer angesichts der ahnungslos
(Rivages/Cinéma), 1985, 198 pages. Avec 90 bedrohten Figur unmittelbar ins Geschehen
photographies noir et blanc. [Note : ce livre hineinzieht. Hitchcock spielt in seinen
n’est pas une réédition du précédent mais un Filmklassikern aber umgekehrt auch mit dem
ouvrage différent] Unwissen und Zweifel des Publikums und nutzt
VOGEL, Andreas, Directing the Audience : dessen Informationsmangel gezielt zur
Alfred Hitchcock und die Manipulation des Etablierung angstvoller Erwartungen und
Publikums, Leipzig, Leipziger Universitäts unvorhersehbarer Wendungen der Geschichte.
Verlag, (Media Studien, 11), 2003, 211 pages.
Préface de Rüdiger Steinmetz. WEIS, Elisabeth, The Silent Scream : Alfred
WALKER, Michael, Hitchcock’s Motifs, Hitchcock’s Soundtrack, Rutherford (NJ),
Amsterdam, Amsterdam University Press, (Film Fairleigh Dickinson University Press, 1982, 188
Culture in Transition), 2005, 490 pages. pages.
Combing through all fifty-two extant feature WEST, Ann Adele, Comédie noire Thrillers
films and representative episodes from of Alfred Hitchcock : Genres, Psychoana-
Hitchcock’s television series, Walker traces lysis, and Woman’s Image, thèse de
over forty motifs that emerge in recurring doctorat/PhD, Berkeley, University of Califor-
objects, settings, character-types, and events. nia, 1982, 172 pages
Whether the loaded meaning of staircases, the WOJTKO, Nikolai (dir.), Alfred Hitchcock,
symbolic status of keys and handbags, der Filmverführer : Un-Schuld im Span-
homoeroticism, guilt and confession, or the role nungsfeld von Ethik und Ästhetik,
of art, Walker analyzes such elements to reveal Hamburg, Dr. Kovac, (Schriften zur Medien-
a complex web of cross-references in wissenschaft), 2005, 149 pages.
Hitchcock’s art. In diesem Band sind Artikel zu bekannten
Hitchcockfilmen versammelt, die anhand ihrer
WEBER, Georg J., Jeder tötet was er liebt. Betrachtung des ästhetischen Musters, die
Liebes und Todesszenen in den Filmen diesem zu Grunde liegenden Kettfäden des
Alfred Hitchcocks, Marburg, Schüren Verlag, Mentalen und Ethischen sichtbar werden
2007, 108 pages. lassen.
Es war unmöglich, nicht zu sehen, daß alle WOOD, Robin, Hitchcock’s Films, London,
Liebesszenen wie Mordszenen gefilmt waren Zwemmer & New York, Barnes, 1965, 193
und alle Mordszenen wie Liebesszenen. [ ] Auf pages. Réédition augmentée : 1969, 204
der Leinwand nichts als Spritzer, Knallkörper, pages.

23
WOOD, Robin, Hitchcock’s Films Revisited,
South Brunswick (NJ), A. S. Barnes, 1977, 174
pages. Réédition : New York, Columbia
University Press, 1989, x, 395 pages.
WULFF, Hans Jürgen & Paul HEISTERKAMP, All
About Alfred : Hitchcock Bibliographie,
Münster, MAkS-Publikationen., 1988, 295
pages.
YANAL, Robert J., Hitchcock as Philosopher,
Jefferson (NC), McFarland, 2005, ix, 206
pages.
This book looks at 12 Hitchcock films and the
positions they put forth on three problem areas
of epistemology: deception, knowledge of
mind, and problematic knowledge of the
external world. These philosophical concepts
are explained and woven into the author’s
thorough and thought-provoking discussion of
each film. Descartes and Wittengenstein star;
Plato, Locke, Hume, Kant and Kierkegaard also
make appearances in this new "philosopher’s
cut" of the master’s works.

YACOWAR, Maurice, Hitchcock’s British

Films, Hamden (Conn.), Archon Books, 1977,
314 pages.
ZBOROWSKI, James, Between Sympathy
and Detachment : Point of View and
Distance in Movies Directed by Alfred
Hitchcock, Otto Preminger and Max ÉTUDES SUR QUELQUES
O p h u l s , thèse de doctorat, University of
Warwick, 2008, 222 pages.
FILMS SPÉCIFIQUES
ZIZEK, Slavoj (ed.), Tout ce que vous avez STUDIES ON INDIVIDUAL
toujours voulu savoir sur Lacan sans
jamais oser le demander à Hitchcock, FILMS
Paris, Navarin, 1988, 216 pages. Réédition :
Capricci (Avignon), L’âge d’or 2010, 336 pages. Les films sont présentés selon l’ ordre
Ed. or. : Everything you Always Wanted to alphabétique des versions originales.
Know about Lacan : (but Were Afraid to
Ask Hitchcock), London & New York, Verso, THE BIRDS (19630
1992, vii, 279 pages. Les oiseaux
Tout ce que vous avez toujours voulu savoir
sur Lacan sans jamais oser le demander à LANGOSCH, Gunhild, Morphologisch-psy-
Hitchcock revisite les chefs-d'oeuvre d'Hitch- chologische Untersuchung des Filmerle-
cock à travers les concepts de la pensée de bens von Hitchcocks Horrorfilm : D i e
Jacques Lacan : Vertigo, L'Homme qui en Vögel, München, Mikrokopie Gmbh, 1970, 174
savait trop, Psychose, La Mort aux trousses... pages.
Le titre, inspiré de Woody Allen, reflète LEITMER, Petra, Alfred Hitchcock : D i e
également la méthode provocatrice de ce grand Vögel. Analyse der Spannungstheorie
livre: comprendre le cinéma via la anhand einer Sequenz, München, Grin
psychanalyse, mais aussi la psychanalyse via le Verlag, 2000, 10 pages.
cinéma ! Slavoj Zizek a dirigé cet ouvrage
collectif réunissant de nombreux auteurs dont PAGLIA, Camille, The Birds, London, BFI
notamment le grand philosophe américain Publishing, (BFI Film Classics), 1998, 104
Fredric Jameson. pages. Réédition, 2008. Camille Paglia draws
ZIZEK, Slavoj, Lacrimae rerum : cinq essais together in this text the aesthetic, technical
sur Kieslowski, Hitchcock, Tarkovski et and mythical qualities of Alfred Hitchcock's The
Lynch, Paris, Éditions Amsterdam, 2005, 217 Birds (1963), and analyzes its depiction of
pages. gender and familial relations.

24
 DIAL M FOR MURDER (1954)
Le Crime était presque parfait

LINSSER, Antje, K o n s t r u k t i o n von

Weiblichkeit im Amerikanischen Spielfilm :
Das Frauenbild in soziologischen Kontext.
Mit einer vergleichenden Analyse von
Hitchcocks und Davis Remake E i n
perfekter Mord (1998), München, Grin
Verlag, 2003, 28 pages.

FOREIGN CORRESPONDANT (1947)

Correspondant 17

ANON. Alfred Hitchcocks Der Auslands-

Korrespondent, Stuttgart, Wiederroither,
1991, 26 pages.

FRENZY (1972)

FOERY, Raymond, Alfred Hitchcock’s

Frenzy : The Last Masterpiece, Lanham
(MD), Scarecrow Press, 2010, 168 pages.
Like The Lodger, The 39 Steps, Saboteur, and
North by Northwest before, Frenzy repeated
the classic Hitchcock trope of a man on the run
from the police while chasing down the real
criminal. But unlike those previous works, including personal interviews with Tippi
Frenzy also featured some elements that were Hedren, author Winston Graham, and Psycho
new to the master of suspense’s films, screenwriter Joseph Stefano - as well as
including explicit nudity, depraved behavior, unpublished excerpts from interviews with
and a brutal act that would challenge Psycho’s Hitchcock himself - to delve into the issues
shower scene for the most disturbing depiction surrounding the film's production and release.
of violence in a Hitchcock [Link] Foery Moral gives readers an invaluable look behind
recounts the history—writing, pre-production, the scenes at a film that is only now being
casting, shooting, post-production, and recognized for its influence and vision.
promotion—of this great work. While there are
other books on the production of an individual VIERBACH, Fabian, Familien Drama und
Hitchcock film, none go into as much detail nor Gender-Konflikt : Hitchcock’s fimische
combine a history of the production process « Fallgeschichte » Marnie, München, Grin
with an ongoing account of how this particular Verlag, 64 pages.
film relates to Hitchcock’s other works.

NORTH BY NORTHWEST (1959)

LIFEBOAT (1943) La Mort aux trousses

ANON. Alfred Hitchcock’s Lifeboat,

Suttgart, Wiedleroither, 1986, 12 pages. ANON. Alfred Hitchcock’s Der Unsichtbare
Dritte, Stuttgart, Wiedelroither, 1994, 46
pages.
MARNIE (1964) CASANOVA, Basilo, Leyendo a Hitchcock :
Pas de printemps pour Manie analisis textual de North bu Northwest,
Valladolid, Castilla, (Trama y fondo, 2), 2007,
MORAL, Tony Lee, Hitchcock and the 207 pages.
Making of Marnie, Lanham (MD), Scarecrow KIROVA, Irina, Der personalierte Mac-
Press, (Filmmakers Series, no 95), 2005, xviii, Guffin : Spannung, Suspense und
213 pages. unechten Agenten in North by Northwest,
Tony Lee Moral uses extensive research, München, Grin Verlag, 25 pages.

25
LEHMAN, Ernest, North by Northwest, Hitchcock, Valencia, NAU Llibres & Barcelona,
London, Faber, (Faber Classic Screenplays Octaedro, (Guia para ver y analizar), 2000, 92
Series), 1999, xvii, 196 pages. pages.
LEHMAN, Ernest, La Mort aux trousses –
North by Northwest : scénario bilingue, STEINACKER, Florian, Was hat eigentlich
Paris, Éditions de l’Étoile, 1999, 318 pages. des, O’ zu bedeuten ? Das Motiv der
LINDEN, Alexander, Zum Aufbau des Identität in Alfred Hitchcocks North by
supense in Alfred Hitchcocks Der Northwest, München, Grin verlag, 2008, 40
Unsichtbare Dritte, München, Grin Verlag, pages.
2005, 13 pages. TESSÉ, Jean-Philippe, La Mort aux trousses,
Paris, CNC, Cahiers du Cinéma, (Lycéens et
MARIMBERT, Jean-Jacques (dir.), La Mort aux apprentis au cinéma), 2008, 20 pages.
trousses (1959) : analyse d’une oeuvre, WENDLER, Simon, Die visuelle Gestaltung
Paris, J. Vrin, (Philosophie et cinéma), 2008, im Film North by Northwest, München, Grin
125 pages. Avec la collaboration d’éric Dufour, Verlag, 2002, 19 pages.
Laurent Jullier & Julien Servois].
L’ouvrage propose un éclairage philosophique WILLIAMS, Dan, North by Northwest :
du rapport entre la forme et le contenu de ce Director, Alfred Hitchcock, London, York,
film, indissociables des caractéristiques clés du Press, (York Film notes), 2001, 81 pages.
cinéma d’Hitchcock, cinéma d’action et cinéma Go behind the scenes with the ultimate film
abstrait. guide and get the bigger picture. Discover how
Les différents “usages” que les spectateurs font Hitchcock used a combination of different
du film conduisent à donner sens à une lecture genres to make North by North West into a
“formaliste”, mais pas seulement. De là, une comedy, romance, thriller and adventure story.
double approche s’est imposée. Tout d’abord, Consider the importance of film style and how
l’analyse phénoménologique de la façon dont Hitchcock leads the audience into a temporary
Hitchcock exploite les possibilités offertes par le state of nightmare. Understand how camera
cinéma : l’ellipse, la diversité des points de work is employed to give more impact to
vue, la perception. Puis, le déploiement de specific images and how colour plays a vivid
l’identité problématique des personnages, en role. What were the decisions behind casting
particulier de Robert O. Thornhill et d’Ève, et la Cary Grant as Thornhill and how did Bernard
dynamique de leurs rapports, notamment Herrmann capture the suspense the movie ?
amoureux.
Ainsi s’enchaînent une “critique des usages” WÖHLBIER, Marie-Elisabeth, Analyse des
menée par Laurent Jullier et une “lecture Visuellen Erzählen der Maisfeld-Sequenz
critique et phénoménologique” d’Éric Dufour, in North by Northwest, München, Grin
Julien Servois et Jean-Jacques Marimbert. Verlag, 2010, 25 pages.

MESNILDOT, Stéphane du, La Mort aux

trousses, Paris, Cahiers du Cinéma, 2008, 95 NOTORIOUS (1946)
pages. Les Enchaînés
Qui aurait parié à la sortie de La Mort aux
trousses en 1959 que ce divertissement grand UNGEREIT, Natascha, Die Untersuchung
public serait un jour donné en modèle de l'art zwischenmenschlischer Beziehungen in
cinématographique, chef-d'oeuvre parmi les Hitchcockfilmen : ein Vergleich von
plus grands de son histoire ? Lorsqu'Hitchcock Berüchtigt (Notorious) and Die Vögel (The
entreprend La Mort aux trousses, il est le " Birds) München, Grin Verlag, 2010, 135
maître du suspense ". La distribution est sous pages.
le signe du charme irrésistible de Cary Grant,
au sommet de sa séduction et de ses PSYCHO (1960)
performances d'homme d'action, et d'Eva Marie Psychose
Saint, symbole même des héroïnes
hitchcockiennes blondes glacées... mais les ANOBILE, Richard J. (ed.), Alfred Hitchcock’s
méchants ne sont pas en reste, Psycho , London, Pan Books, (Film Classic
particulièrement réussis dans la peau de James Library), 1974, 256 pages.
Mason ou Martin Landau. BLASBERG, Sarah, Die Umsetzung des
Unheimlichen in Alfred Hitchcocks Psycho,
MONZO, José Maria & Salvador Rubio MARCO, München, Grin Verlag, 2008, 28 pages.
Con la murte en los talones : Alfred BRÜCK, Sabine, Analyse der Duschszene

26
aus Alfred Hitchcocks Film Psycho, Review
München, Grin Verlag, 2001, 8 pages. Crowther's Psycho entry for his "ten best films,
COOKE, Lez, Study Notes on a Sequence December 24, 1960
fom Psycho, London, BFI Education, 1987 ( ?) The Building of A Reputation:
EL-NAWAB, Dina, Alfred Hitchcocks Jean Douchet, "Hitch and His Audience"
Psycho : exemplarische Filmanalyse unter Robin Wood, "Psycho"
beson-derer Berücksichtigung des Raymond Durgnat, "Psycho"
S u s p e n s e , Alfred/Leine, Coppi verlag, Psycho's Music
(Aufsätze zu Film und Fernsehen im Coppi Royal S. Brown, "Herrmann, Hitchcock, and the
Verlag, Bd. 50), 1997, 223 pages. Music of the Irrational"
FELDMAN, Andre, Wie in Alfred Hitchcocks Psycho and the Gaze
P s y c h o durch filmische Mittel Angst, George Toles, "'If Thine Eye Offend Thee. . . .'
Schrecken und Schockerlebnisse beim Psycho and the Art of Infection"
Zuschauer erzeugt werden, München, Grin Psychoanalytical Approaches
Verlag, 2002, 18 pages. Robert Samuels, "Epilogue: Psycho"
FRANCO-PEREIRA, José, INNERVATION – Gender and the Postmodern
Zur unbewussten Wahrnehmungsebene in Linda Williams : 'Discipline and fun: Psycho and
Alfred Hitchcocks Psycho, München, Gin postmodern cinema"
Vrelag, 2001, 256 pages. The Man Who Knew More Than Too Much
Robert Kolker, "The Form, Structure, and
GRAYSMITH, Robert, The Girl in Alfred Influence of Psycho"
Hitchcock’s Shower : A Murder that Beca-
me a Real-Life Mystery, a Mystery that LEFEBVRE, Martin, Psycho : de la figure au
Became an Obsession, London, Titan Books, musée imaginaire, Montréal, L’Harmattan,
& New York, Berkley Books, 2010, 307 pages. (Champs visuels), 1997, 253 pages.
Histoire de Marli Renfro, la doublure de Janet Que retient-on d'un film ? Que se produit-il
Leigh dans la fameuse scène de la douche, et lorsqu'un film laisse son empreinte sur la cire
qui aurait été tuée à coups de couteau par un molle de notre mémoire ? Cet ouvrage étudie
meurtrier en série... adepte des films entre autres le rôle de l'imagination et de la
d’Hitchcok ! Comme quoi la réalité et la memoria pour comprendre comment le
fiction...Ce bouquin a été descendu par la spectateur s'approprie le film qu'il regarde. Le
critique anglo-saxonne ! résultat de ce processus est appelé figure.
C'est le fondement de la culture filmique et
GROTH, Carina, Alfred Hitchcocks Psycho in l'artefact principal de ce musée imaginaire du
Bezug zur Robert Blochs gleichnamigen cinéma que chaque spectateur possède et où il
Roman als Vorlag fûr den Film, München, conserve ce qu'il a retenu du cinéma. L'enquête
Grin Verlag, 2011, 36 pages. est menée à partir d'un film unique et, plus
HERBST, Maren, Alfred Hitchcocks Psycho : particulièrement, à partir d'un épisode de ce
eine Betrachtung der einführenden Szene, film : Psycho d'Alfred Hitchock et le célèbre
München, Grin Verlag, 2001, 21 pages. meurtre sous la douche.

JENSEN, Sören, Das verhalten Norman LEIGH, Janet, (avec Christopher NICKENS)
Bates im Film Psycho von Alfred Hitchcock Psycho ; Behind the Scenes of the Classic
vor und nach beiden Mordszenen, München, T h r i l l e r , London, Pavilion, & New York,
Grin Verlag, 2011, 15 pages. Harmony, 1995, x, 197 pages.
The fascinating, behind-the-scenes saga of the
KOLKER, Robert (ed.), Alfred Hitchcock’s making of Alfred Hitchcock's masterpiece. This
Psycho : A Casebook, New York, Oxford is the richest and most revealing portrait of a
University Press, 2004, x, 261 pages. movie classic in-the-making ever compiled,
"Good Evening...." from casting decisions to personality clashes,
Hitchcock on Psycho and other aspects of from anecdotes about one of Hollywood's most
filmmaking, from Hitchcock/Truffaut celebrated--and feared--directors to the truth
Introduction about why the FBI needed to protect Janet
Robert Kolker Leigh after the opening of the film.
The Inception
Stephen Rebello, from Alfred Hitchcock and the MONAHAN, Jerome, Psycho : Study Guide,
Making of Psycho London, Film Education, (Ten Films that Shook
Early Reception: Bosley Crowther, "Hitchcock's The World), 1999, 16 pages. [Cinema 100
'Psycho' Bows at 2 Houses" New York Times Education Program]

27
 SCHLESINGER, Martin, Psycho-Analyse.
Betrachtungen zur Entwicklung der kine-
matographischen Sprache in und um
Alfred Hitchcocks Duschmordmontage,
München, Grin Verlag, 2004, 29 pages.
SCHNELLE, Frank & Frank ARNOLD (dir.),
Alfred Hitchcocks Psycho, Stuttgart, Fischer
und Wiedleroither, 1993, 79 pages.

SMITH, Joseph W., The Psycho File : A

Comprehensive Guide to Hitchcock’s
Classic Shocker, Jefferson (NC), McFarland,
2009, x, 216 pages.
Table of Contents__Acknowledgments
NOVATZKI, Markus, Psycho, from Novel to vii__Part 1. Before Committing Yourself: A
Film. Construction of Emotions, München, Few Preliminaries_Introduction: We All Go a
Grin, 2002, 21 pages. Little Mad Sometimes 2_1. He Stole Her
Corpse: Gein and Bloch 7_2. Do You Mind If
REBELLO, Stephen, Alfred Hitchcock and I Look at Your Book? Stefano and Hitchcock
the Making of Psycho, London, Boyards, New 13_3. The Nuts and Bolts: Hitchcock and His
York Dembner Books, 1990, x, 224 pages. Crew 18__Part 2. Look at the Picture,
Réédition : Marion Boyars, 1999. Please: A Detailed Analysis of the Film_4. I
Thirty years after its creation, Psycho remains Hate Having to Be with You in a Place Like
the yardstick by which all other thrillers are This: Titles and Windows 24_5. Let’All Talk
measured. Stephen Rebello gives readers an About Marion, Shall We? Marion and Sam
intimate glance at the making of this incredible 29_6. She Sat There While I Dumped It Out:
movie from beginning (the true life crime on Caroline and Cassidy 34_7. Am I Acting As
which Psycho is based) to end (Hitchcock's If There’s Something Wrong? Marion and
obsessive instructions to darken theaters and Marion 41_8. Dirty Night: Marion and
close the curtains for 30 seconds after the Norman 53_9. Blood! Blood! Marion and
opening credits, in order to raise the Mom 70_10. He Had to Erase the Crime:
suspense). 16 pages of photographs. Norman and Us 91_11. If You Still Havent
Come to Your Senses: Sam and Arbogast
RÖNNECKE, Dominique, Die Wende im 96_12. People Just Come and Go: Arbogast
amerikanischen Studiosystem am Beispiel and Norman 102_13. A Bad Day Coming:
von Psycho, München, Grin Verlag, 2010, 19 Sam and Lila 110_14. I Can Handle a Sick
pages. Old Woman: Lila and Mom 119_15. As If
from a Deep Sleep: Richmond and Norman
SCHECHTER, Harold, Deviant : The Shocking 130_16. Two Personalities: Psycho and
True Story of the Original Psycho, London, Psycho 139_17. Want to Check the Picture
New English Library, 1989, xi, 274 pages. Again? Psycho and Its Themes 144_18. The
Édition américaine : Deviant : The True Whole Story: Psycho and Its Moral
Shocking Story of Ed Gein, the Original Implications 162__Part 3. And That Still
Psycho, New York, Gallery Books, 1998, 256 Wasn’t Enough: Aftermath_19. They See
pages. and They Know: Psycho and Its Viewers
Harold Schechter is a historian: he takes old 172_20. After the Murder, Norman Returned:
files and yellowed newspaper clippings, and Sequels and Spin-Offs 182.
brings their stories to life. Deviant is about
everyone's favorite ghoul, Ed Gein--whose SCHNEIDER, Marco, Bernard Hermann und
crimes inspired the writers of Psycho, Texas seine Filmmusiken zu Citizen Kane, Psycho
Chainsaw Massacre, and The Silence of the Lambs. und Taxi Driver, München, Grin Verlag, 2007,
Schechter deftly evokes the small-town 1950s 14 pages.
Wisconsin setting--not pretty farms and cheese
factories, but infertile soil and a bleak, STOPPE, Sebastian, Original und Fäls-
hardscrabble existence. The details of Gein's chung ? Hitchcocks Psycho und das
"death house" are perhaps well known by now, Remake von Gus van Sant, München, Grin
but the murderer's quietly crazy, almost gentle Verlag, 2007, 60 pages.
personality comes forth in this book as never
before.

28
THOMSON, David, The Moment of Psycho : Window : The Well-Made Film, Carbondale,
how Alfred Hitchcock Taught America to Souther Illinois University Press, 2001 (rééd.
Love Murder, New York, Basic books, 2009, 2004), 179 pages.
183 pages. In the process of providing an extensive
It was made like a television movie, and analysis of Alfred Hitchcock's "Rear Window",
completed in less than three months. It killed John Fawell also dismantles many myths and
off its star in forty minutes. There was no cliches about Hitchcock, particularly in regard
happy ending. And it offered the most violent to his attitude toward women. Although "Rear
scene to date in American film, punctuated by Window" masquerade's quite successfully as a
shrieking strings that seared the national piece of light entertainment, Fawell
consciousness. Nothing like Psycho had existed demonstrates just how complex the film really
before; the movie industry—even America is. It is a film in which Hitchcock, the
itself—would never be the same. consummate virtuoso, was in full command of
In The Moment of Psycho, film critic David Thomson his technique. One of Hitchcock's favourite
situates Psycho in Alfred Hitchcock’s career, films, "Rear Window" offered the ideal venue
recreating the mood and time when the for the great director to fully use the tricks and
seminal film erupted onto film screens ideas he acquired over his previous three
worldwide. Thomson shows that Psycho was not decades of filmmaking.
just a sensation in film: it altered the very
nature of our desires. Sex, violence, and horror LESINSKI, Johannes-Paul, Nachbarn sehen
took on new life. P s y c h o , all of a sudden, mehr : Alfred Hitchcocks Rear Window und
represented all America wanted from a seine Nachfolger, München, Grin Verlag,
film—and, as Thomson brilliantly demonstrates, 2010, 52 pages.
still does. LENGDOBLER, Martin, « Look, look ! » -
Koppelungen des Blickes in Alfred
WELLS, Amanda Sheahan, Psycho : director, Hitchcocks Rear Window, München, Grin
Alfred Hitchcock, Harlow, Longman, (Ultimate Verlag, 2010, 88 pages.
Film Guides), 2001, 93 pages. LEUER, Eric A., « To see you is to love
WILSER, Gerd, Hitchcock Meets Aristo- you » : zur Rolle des Voyeurismus in
teles : Sein Werk unter aristotelischen Alfred Hitchcocks Rear Window, München,
Gesichtspunkten mit besonderer Berück- Grin Verlag, 2009, 36 pages.
sichtigung des Spielfilms Psycho, München, MIGUEL BORRAS, Mercedes, La represen-
Grin Verlag, 38 pages. tacion de la mirada : La ventana indiscreta
(Alfred Hitchcock, 1954), Valencia, Ediciones
de la Mirada, (Contraluz libros de cine, 2),
REAR WINDOW (1954) 1997, 196 pages.
Fenêtre sur cour MONTCOFFE, Francis, Fenêtre sur cour :
étude critique, Paris, Nathan, (Synopsis, 6),
BELTON, John (ed.), Albert Hitchcock’s Rear 1995, 127 pages.Réédition : Armand Colin,
Window, Cambridge, Cambridge University (synopsis, 6), 2005.
Press, (Cambridge Film Handbook Series), Chaque étude de la collection Synopsis
2000, xiv, 177 pages. comporte une biographie du réalisateur, un
Introduction John Belton résumé du film, la description de sa structure
1. The making of Rear Window Scott Curtis dramatique et narrative, l'analyse de ses
2. Voyeurism and the post-war crisis of thèmes principaux, de ses personnages, de ses
masculinity in Rear Window Elise Lemire particularités esthétiques et de séquences
3. 'The dresses had told me': fashion and illustrées. Extraits critiques et bibliographie
femininity in Rear Window Sarah Street permettent de prolonger la réflexion.
4. Alfred Hitchcock's Rear Window: the fourth
side Michael Chion PYC, Karin, Exposititionsanalyse Rear Win-
5. Eternal vigilance in Rear Window Armond dow von Alfred Hitchcock, München, Grin
White. Verlag, 2004, 23 pages.

FISCHER, Thilo, Mentales Bild : in der SCHWARZ, Eva, Visual Paranoia in R e a r

Eimganssequenz von Hitchcocks R e a r Window, Blow Up and The Truman Show,
W i n d o w , München, Grin Verlag, 2010, 32 Suttgart, ibidem Verlag, 2011, 144 pages.
pages.
SHARFF, Stefan, The Art of Looking : in
FAWELL, John Wesley, Hitchcock’s R e a r Hitchcock’s Rear Window, New York, Lime-

29
light Editions, 1997, 196 pages. Rééd. : 2000. PEITZ, Daniel, To Catch an Audience. Von
Readers who agree with Stefan Sharff that "the der Kunst ein Publikum zu fesseln :
voyeuristic drive is an unavoidable part of Hitchcocks Suspense am Beispiel seines
watching a film," will find much food for Films Rope, München, Grin Verlag, 2009, 624
thought in this book. Sharff contends that the pages.
hero of Rear Window, played by James Stewart,
is himself a voyeur, and that through him
Hitchcock replicates and satirizes the SHADOW OF A DOUBT (1943)
experience of movie watching itself. The author L’Ombre d’un doute
further argues that Hitchcock uses a cinematic
"high vernacular" to convey his complex ideas. MARCHESINI, Mauro, La carta del cattivo :
As he reveals the relationship between the Alfred Hitchcock e L’ombra del dubbio,
film's visual style and meaning, its form and its Bergamo, Pierluigi Lubrina, 1993, ix, 82 pages.
content, Sharff walks through it no fewer than MARCHESINI, Mauro, L’ombra del dubbio :
three times. cinque trame per Alfred Hitchcock, Recco,
Le Mani, 1996, 102 pages. Introduction de
Franco La Polla.
REBECCA (1940)

NEUMEYER, david & Nathan PLATTE, Franz STAGE FRIGHT (1950)

Waxman’s Rebecca : A Film Score Guide, Le grand alibi
Lanham (MD), Scarecrow Press, 2011, 236
pages. HIMPLER, Michael, Die Unzuverlässigkeit
In Franz Waxman’s Rebecca: A Film Score der Erzähklung in Alfred Hitchcocks Stage
Guide, David Neumeyer and Nathan Platte Fright, München, Grin Verlag, 2002, 22 pages.
situate the score for this classic work within the
context of the composer’s life and career.
Beginning with Waxman’s early training and STRANGERS ON A TRAIN (1951)
professional experience as a jazz musician and L’Inconnu du Nord-Express
film-music arranger-orchestrator in Berlin, the
authors also recount the composer’s work in DOSSIER : L’Inconnu du Nord-Express, in
the music department at MGM between 1936 L’Avant-Scène du cinéma, Paris, no 297-
and 1942. During this period, Waxman was 298, 15 décembre 1982, 48 pages.
loaned out to Selznick International Pictures NARLOCH, Jessica, Expositionanalyse :
and wrote the music for Rebecca. Through Alfred Hitchcocks Strangers on a Train,
manuscript and archival research, Neumeyer München, Grin Verlag, 2007, 104 pages.
and Platte untangle the threads of the film’s
complicated music production process, which
was strongly influenced by Selznick’s habit of THE THIRTY-NINE STEPS (1935)
micromanaging music choices and placement. Les 39 marches
This volume concludes with a thematic analysis
and reading of the score that incorporates DOSSIER : Les 39 marches, in L ’ A v a n t -
commentary on scenes and cues. Scène du Cinéma, Paris, , no 249, 1er juin
The first book devoted to the music of a single 1980, 48 pages.
film by this great composer from Hollywood’s FIGUEROLLA, Joan Antoni, The 39 Steps, by
golden age, Franz Waxman’s Rebecca: A Film Alfred Hitchcock : an Excuse for a Project
Score Guide will be of interest to musicologists Work, Barcelona, Generalitat de Catalunya,
and film scholars, as well as fans of Alfred Departament d’Ensenyament, (Cinema original
Hitchcock and Franz Waxman. a l’aula, 1), 1989, 85 pages.

SCHWERTFEGER, Melanie, Alfred Hitchcocks

TORN CURTAIN ( 1966)
Rebecca : die Suche nach der weiblichen
Le Rideau déchiré
Identität, München, Grin Verlag, 2005, 23
pages.
DÜRINGER, Christian, Alfred Hitchcocks
subtiler umgang mit Propaganda-
ROPE (1948)
Klischees in Torn Curtain, München, Grin
La Corde
Verlag, 2006, 9 pages.

30
 VERTIGO (1958) University (Canada), 1989, 179 pages.
Sueurs froides Castro de Paz, José Luis, Vertigo/De entre
los muertos, Barcelona, Paidos,(Paidos
peliculas, 5), 1999, 127 pages.
COOPER, David, Bernard Herrmann’s
Vertigo : A Film Score Handbook, Westport
(CT), Greenwood Press, (Filmscore Guides, no
2), 2001, xviii, 157 pages.

CUNNINGHAM, Douglas A. (ed.), The San

Francisco of Alfred Hitchcock’s Vertigo :
Place, Pilgrimage, and Commemoration,
Lanham (MD), The Scarecrow Press, 2011, 356
pages.
Introduction / Douglas A. Cunningham --
Vertigo and the weight of history. Whose
AUILER, Dan, Vertigo : the Making of a grave?: Hitchcock’s Vertigo and the sad
Classic, New York, St. Martin’s Press, 1998, specters of the Mission Dolores Cemetery /
xviii, 220 pages. Préface de Martin Scorsese Joshua Kitching -- "Baroque Vertigo" / Roland
Alfred Hitchcock's 1958 film Vertigo--in which Greene -- "Souvenirs of a killing": Vertigo,
obsessve ex-cop James Stewart pursues empire, and the California Mission Revival /
troubled loner Kim Novak throughout San Martin Kevorkian and Stanley Orr -- VistaVision
Francisco--is one of the most dissected, and the cinematic landscape of Vertigo / Ana
discussed, and revered movies of all time. Salzberg -- Vertigo’s wanderers: on seeking
Now, for the first time, the story of this the cinematic sacred. Alfred Hitchcock’s San
remakable film is revealed. Writing with the full Francisco / Lynda Myles and Michael Oliver-
cooperation of the director's family and many Goodwin -- It’s all there, it’s no dream: Vertigo
crew members, Dan Auiler offers up a and the redemptive pleasures of the cinephilic
remarkable in-deph re-creation of Hitchcock's pilgrimage / Douglas A. Cunningham -- The
signature thriller. The result is one of the most frustration of reality/illusion: searching for
thorough and illuminating studies of a single Vertigo on the cinephilic pilgrimage / L. Lelaine
film ever published, and a testament to the Bonine -- Travelogue as traumalogue: space,
enduring power of Hitchcock's masterwork of place, and memory in Vertigo / Diane Borden --
suspense. Beyond location: Vertigo and the capacity for
wonder / Henrik Gustafsson -- In the gallery of
the gaze: the museum in Hitchcock’s Vertigo /
ANON., Die Frau as Bild und Projektions- Steven Jacobs -- Marking Vertigo: validations
fläche. Eine Filmanalyse zu Alfred in time and space. Proposed locations: on
Hitchcocks Vertigo, München, Grin Verlag, 24 postmodern tributes to Vertigo and place /
pages. Cindy Bernard in conversation with Douglas A.
Cunningham -- The vestiges of Vertigo in
BAGH, Peter von, Hitchcock : merkintöjä contemporary art: Cindy Bernard, David Reed
Alfred Hitchcockin elokuvasta Vertigo, and Douglas Gordon / Christine Sprengler –
Helsinki, Suomen elokuvsäätiö, 1979, 149 Only one is a wanderer: guiding tours of
pages. Vertigo sites / Miguel Pendas -- Vertigo: the
BARR, Charles, Vertigo, London, BFI, (BFI Film heart of San Francisco / Jeff Kraft and Aaron
Classics), 2002, 87 pages. Leventhal -- Mapping/marking cinephilia: the
The author documents the crucial role of case for a Vertigo heritage trail / Douglas A.
screenwriters Alec Coppell and Samuel Taylor Cunningham.
and, by a combination of textual and
contextual analysis, explores the reasons why CZECH, Lucy, Funktionen und Formen der
Vertigo has come to exert such a continuing Filmmusik unter Beachtung der
fascination both on audiences and on a wide Erzeugungen von Emotionen : eine
range of critics and theorists. auditive Analyse des Hitchcock-Film’s
Vertigo – Aus dem Reich der Toten,
BRUCE, Ryan R., Hitchcock’s Vertigo : München, Grin Verlag, 2011, 72 pages.
Context (Toward the definition of a critical DÜRINGER, Christian, Bernard Hermanns
position) and Text (A shot by shot analysis Filmmusik zu Alfred Hitchcocks Vertigo,
of the film), Mémoire de maîtrise, York München, Grin Verlag, 2006, 9 pages.

31
ESQUENAZI, Jean-Pierre, Hitchcock et SALOTTO, Eleanor, Gothic Returns in
l’aventure de Vertigo : l’invention à Collins, Dickens, Zola and Hitchcock, New
Hollywood, Paris, CNRS Éditions, 2001, 239 York, Palgrave Macmillan, 2006, 198 pages.
pages. Taking a fresh approach to the study of the
Film culte, célébré par les cinéphiles et les gothic in Victorian fiction, the development of
cinéastes du monde entier, Vertigo (Sueurs the cinema, and Alfred Hitchcock's Vertigo, Gothic
froides), tiré d’un roman de Boileau et Returns explores the contained or repressed
Narcejac, a été réalisé en 1958. Qui ne se desires of both characters and plots that defy
souvient de la scène dans la tour Coit, et des direct representation, resulting in obsession,
deux acteurs, Kim Novak et James Stewart ? fetishism, and displacement engendering a
Un film étrange et inquiétant, personnel et novel account of the way in which the gothic
paradoxal, dont Jean-Pierre Esquenazi souligne becomes internalized.
le génie anticipatoire, l’audace, la modernité.
Que nous apprend Vertigo sur les sources de SAULS, Allison Houston, The Ineluctable
l’imaginaire hitchcockien ? Comment joue-t-il Modality of the Visible : Alfred Hitchcock’s
avec l’univers hollywoodien, ses exigences Vertigo and the Theories of Space, Time
économiques et industrielles ? Modifie-t-il and Dimensionality, thèse de doctorat/PhD,
discrètement les genres à l’honneur dans le Emory University, 1992, 472 pages.
cinéma américain ? En quoi la « blonde » de
Vertigo se distingue-t-elle de ses consoeurs ? STOICHITA, Victor I., The Pygmalion Effect :
Voici les questions, parmi beaucoup d’autres, from Ovid to Hitchcock, Chicago, The
auxquelles répond cet essai de grand style. University of Chicago Press, (The Louise Smith
Jean Pierre Esquenazi montre en particulier Bross Lecture Series), 2008, viii, 252 pages.
comment, dans une troublante mise en abîme, Stoichita argues, that the modern age found a
les deux héros interprètent des personnages fitting embodiment of the Pygmalion story’s
tout en incarnant des modèles de star. influence. Concluding with an analysis of Alfred
Hitchcock films that focuses on Kim Novak’s
GIORI, Mauro & Tomaso SUBINI, Nel vortice double persona in Vertigo, The Pygmalion Effect
della passione : Vertigo di Alfred Hitch- illuminates the fluctuating connections that link
cock, Milano, CUEM, (Arte, communicazione e aesthetics, magic, and technical skill. In the
spettacolo), 2006, 97 pages. process, it sheds new light on a mysterious
HARSH, Nicole, Symbolik im Vergleich bei world of living artifacts that, until now, has
Georges Rodenbach Bruges-la-Morte und occupied a dark and little-understood realm in
Alfred Hitchcocks Vertigo, München, Grin the history of Western image making.
Verlag, 2011, 28 pages.
TRIAS, Eugenio, Vertigo y pasion : un
LAGAZZI, Paolo, Vertigo : l’ansia moderna ensayo sobre la pelicula Vertigo de Alfred
del tempo, Milano, R. Archinto, (Gli aquiloni), Hitchcock, Madrid, Taurus, (Pensamiento),
2002, 118 pages. 1997, 236 pages.
Quello che ci è dato di attraversare è davvero il
tempo dell'ansia e delle vertigini. Presi fra gli
appelli incessanti della civiltà della fretta, le
impasse del mondo e le voragini del nostro
cuore, ci dibattiamo come funamboli su un filo
sdrucciolevole alla ricerca di qualcosa che ci
liberi dal senso di precarietà dei giorni, che dia
consistenza e respiro alle nostre vite. Molte fra
le opere della letteratura, dell'arte e del cinema
novecenteschi testimoniano la marea montante
dell'ansia di fronte ai vortici del tempo.
Muovendosi fra testi narrativi e poetici, tra film
e quadri, riti mediatici e scenari epocali, Paolo
Lagazzi focalizza la sua attenzione su alcuni dei
capolavori di Joseph Conrad, di Alfred
Hitchcock e di Bernard Malamud.

PERLINA, Anna, Vertigo d’Alfred Hitchcock

comme héritier du Film noir, München, Grin
Verlag, 2005, 29 pages.

32