Re-viewing Hitchcock approaches Alfred Hitchcock's prolific career in film and television from a reception focus, charting the changing fortunes of the master auteur's work from 1926's silent The Lodger to his penultimate film, the controversial Frenzy of 1972. Each of the chapters, written by eminent international film scholars, critics and historians, offers a detailed analyses of the historical reception of key Hitchcock films. These include films that have enjoyed consistent critical success, such as Rebecca (1940), Rear Window (1954), and North by Northwest (1959), as well as those that…mehr
Re-viewing Hitchcock approaches Alfred Hitchcock's prolific career in film and television from a reception focus, charting the changing fortunes of the master auteur's work from 1926's silent The Lodger to his penultimate film, the controversial Frenzy of 1972. Each of the chapters, written by eminent international film scholars, critics and historians, offers a detailed analyses of the historical reception of key Hitchcock films. These include films that have enjoyed consistent critical success, such as Rebecca (1940), Rear Window (1954), and North by Northwest (1959), as well as those that have received shifting degrees of critical and scholarly praise, such as Sabotage (1936), Rope (1949), Strangers on a Train (1951), Vertigo (1958), Psycho (1960), and The Birds (1963). The contributors assess the significance of these changing critical perspectives and the extent to which they influence the meaning and significance of Hitchcock's films and filmmaking. The book also sheds light on Hitchcock's lesser-known television work of the 1950s and the 60s, reassessing its relationship to his film career. In addition, it expands the focus beyond Anglo-American contexts to consider how Hitchcock's films have been received and interpreted in Europe, Latin America, and Asia.
Robert E. Kapsis is Professor Emeritus of Sociology and Film Studies at City University of New York, USA. He is author of Hitchcock: The Making of a Reputation (1992) and editor of Nichols and May: Interviews (2020), Conversations with Steve Martin (2014), and Charles Burnett: Interviews (2011).
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List of Contributors Acknowledgements Introduction by Robert E. Kapsis PART 1: ENDURING TRIUMPHS 1. The Lodger (1926): The First True Hitchcock Film Henry K. Miller 2. The Two Blackmails From 1929: A Reputation Crosses the Sound Barrier Bryony Dixon 3. "No Manners at All and Always Seeing Things": The Return of Hitchcock's Vanished Englishwomen in The 39 Steps (1935) and The Lady Vanishes (1938) J.E. Smyth 4. Rebecca's Gendered Reception: 1941 to the Present Patricia White 5. Shadow of a Doubt (1943) and Notorious (1946): Two Hollywood - and Definitively American - Masterworks Thomas Schatz 6. Re-Viewing Rear Window (1954) Janet Staiger 7. North by Northwest (1959): Nothing But Entertainment Thomas Leitch PART 2: CHANGING RECEPTIONS 8. "A director who can impose his own personality on his pictures": British critics and Sabotage (1936) James Chapman 9. The Man Who Knew Too Much (1956): as a Critical Lens on American Culture Paula Marantz Cohen 10. "She Isn't Quite Herself Today." Psycho (1960): Before and After Queer Theory David Greven 11. #MeToo and Angry Nature: The Changing Tides of Approaches to The Birds (1963) Lucy Bolton 12. Vertigo (1958) and Marnie (1964): Two Reception Histories on Steroids Robert E. Kapsis 13. Rope (1948): A Late Bloomer Neil Badmington PART 3: FILMS ON AN UPWARDS TRAJECTORY 14. Downhill (1927) Henry K. Miller 15. Under Capricorn (1948) Richard Allen 16. Trouble with Harry (1955) Sidney Gottlieb 17. Mr. and Mrs. Smith (1941) Elizabeth Bullock 18. The Wrong Man (1956) Jason P. Isralowitz and Robert E. Kapsis PART 4: FOUR RECEPTION ANOMALIES 19. Hitchcock and His Critics: The Fall and Rise of Strangers on a Train (1951) Robert E. Kapsis 20. Frenzy (1972): "Dark, Nasty, Full of Bile" .and a Masterpiece? Tania Modleski 21. 'One of the most uneven films in the history of cinema': Topaz (1969) James Chapman 22. What the Two Versions of The Man Who Knew Too Much Reveal About Film Criticism in the United States and Britain Robert E. Kapsis PART 5: HITCHCOCK'S TELEVISION SERIES 23. The Final Frontier: Hitchcock's Television Work Thomas Leitch 24. Towards a New Appreciation of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and Shamley Productions Christina Lane 25. Life after Death: Preserving and Promoting Hitchcock's TV Persona Robert E. Kapsis 26. Travels in Hitchcock's Multiverse Joel Gunz PART 6: GLOBAL HITCHCOCK: BEYOND THE US AND THE UK 27. Hitchcock and L'Écran français: At the Roots of the Politique des auteurs? Tifenn Brisset 28. Hitchcock in Germany-A Germanic Hitchcock?: Transnational Genre, Art Cinema, and Auteurism in 1970s/1980s Filmkritik and in the Work of Harun Farocki and Christian Petzold Jaimey Fisher 29. Alfred Hitchcock and Italian Film Criticism: "A Good Second-Rate Director" Francesca Cantore and Andrea Minuz 30. Alfred Hitchcock's Cinema in the USSR and Post-Soviet Russia: Loud Absence Sergei Kapterev 31. Tracing Hitchcock in South Korea: From I Confess to Decision to Leave Hye Seung Chung 32. Hitchcock in Japan: Invisibility and Hypervisibility Daisuke Miyao 33. Introducing Hitchcock to Communist China: Two Decades of Reception and Popularization Sun Yi 34. Hitchcock in Spain Dona M. Kercher 35. Hitchcock's Audiences in Mexico: From Movie Theaters to TV Ana Rosas Mantecón 36. Hitchcock in Argentina: Some Preliminary Findings Dona M. Kercher Coda A A "Signature Pattern": The Importance of Music in Hitchcock's Films Jack Sullivan Coda B Deserter or Honored Exile? Views of Hitchcock from Wartime Britain Charles Barr Index
List of Contributors Acknowledgements Introduction by Robert E. Kapsis PART 1: ENDURING TRIUMPHS 1. The Lodger (1926): The First True Hitchcock Film Henry K. Miller 2. The Two Blackmails From 1929: A Reputation Crosses the Sound Barrier Bryony Dixon 3. "No Manners at All and Always Seeing Things": The Return of Hitchcock's Vanished Englishwomen in The 39 Steps (1935) and The Lady Vanishes (1938) J.E. Smyth 4. Rebecca's Gendered Reception: 1941 to the Present Patricia White 5. Shadow of a Doubt (1943) and Notorious (1946): Two Hollywood - and Definitively American - Masterworks Thomas Schatz 6. Re-Viewing Rear Window (1954) Janet Staiger 7. North by Northwest (1959): Nothing But Entertainment Thomas Leitch PART 2: CHANGING RECEPTIONS 8. "A director who can impose his own personality on his pictures": British critics and Sabotage (1936) James Chapman 9. The Man Who Knew Too Much (1956): as a Critical Lens on American Culture Paula Marantz Cohen 10. "She Isn't Quite Herself Today." Psycho (1960): Before and After Queer Theory David Greven 11. #MeToo and Angry Nature: The Changing Tides of Approaches to The Birds (1963) Lucy Bolton 12. Vertigo (1958) and Marnie (1964): Two Reception Histories on Steroids Robert E. Kapsis 13. Rope (1948): A Late Bloomer Neil Badmington PART 3: FILMS ON AN UPWARDS TRAJECTORY 14. Downhill (1927) Henry K. Miller 15. Under Capricorn (1948) Richard Allen 16. Trouble with Harry (1955) Sidney Gottlieb 17. Mr. and Mrs. Smith (1941) Elizabeth Bullock 18. The Wrong Man (1956) Jason P. Isralowitz and Robert E. Kapsis PART 4: FOUR RECEPTION ANOMALIES 19. Hitchcock and His Critics: The Fall and Rise of Strangers on a Train (1951) Robert E. Kapsis 20. Frenzy (1972): "Dark, Nasty, Full of Bile" .and a Masterpiece? Tania Modleski 21. 'One of the most uneven films in the history of cinema': Topaz (1969) James Chapman 22. What the Two Versions of The Man Who Knew Too Much Reveal About Film Criticism in the United States and Britain Robert E. Kapsis PART 5: HITCHCOCK'S TELEVISION SERIES 23. The Final Frontier: Hitchcock's Television Work Thomas Leitch 24. Towards a New Appreciation of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and Shamley Productions Christina Lane 25. Life after Death: Preserving and Promoting Hitchcock's TV Persona Robert E. Kapsis 26. Travels in Hitchcock's Multiverse Joel Gunz PART 6: GLOBAL HITCHCOCK: BEYOND THE US AND THE UK 27. Hitchcock and L'Écran français: At the Roots of the Politique des auteurs? Tifenn Brisset 28. Hitchcock in Germany-A Germanic Hitchcock?: Transnational Genre, Art Cinema, and Auteurism in 1970s/1980s Filmkritik and in the Work of Harun Farocki and Christian Petzold Jaimey Fisher 29. Alfred Hitchcock and Italian Film Criticism: "A Good Second-Rate Director" Francesca Cantore and Andrea Minuz 30. Alfred Hitchcock's Cinema in the USSR and Post-Soviet Russia: Loud Absence Sergei Kapterev 31. Tracing Hitchcock in South Korea: From I Confess to Decision to Leave Hye Seung Chung 32. Hitchcock in Japan: Invisibility and Hypervisibility Daisuke Miyao 33. Introducing Hitchcock to Communist China: Two Decades of Reception and Popularization Sun Yi 34. Hitchcock in Spain Dona M. Kercher 35. Hitchcock's Audiences in Mexico: From Movie Theaters to TV Ana Rosas Mantecón 36. Hitchcock in Argentina: Some Preliminary Findings Dona M. Kercher Coda A A "Signature Pattern": The Importance of Music in Hitchcock's Films Jack Sullivan Coda B Deserter or Honored Exile? Views of Hitchcock from Wartime Britain Charles Barr Index
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