Coverart for item
The Resource Hitchcock, by François Truffaut with the collaboration of Helen G. Scott

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

Label
Hitchcock
Title
Hitchcock
Statement of responsibility
by François Truffaut with the collaboration of Helen G. Scott
Creator
Contributor
Subject
Genre
Language
  • eng
  • und
  • eng
Member of
Biography type
individual biography
Cataloging source
DLC
http://library.link/vocab/creatorName
Truffaut, François
Dewey number
791.43/023/0924
Illustrations
illustrations
Index
index present
LC call number
PN1998.A3
LC item number
H573
Literary form
non fiction
Nature of contents
  • bibliography
  • filmographies
http://library.link/vocab/relatedWorkOrContributorDate
1899-1980
http://library.link/vocab/relatedWorkOrContributorName
Hitchcock, Alfred
http://library.link/vocab/subjectName
  • Hitchcock, Alfred
  • Motion picture producers and directors
  • Producers and directors
Label
Hitchcock, by François Truffaut with the collaboration of Helen G. Scott
Instantiates
Publication
Note
  • Dialogue between Truffaut and Hitchcock
  • Translation of Le cinéma selon Hitchcock
  • Includes indexes
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Childhood -- Behind prison bars -- "Came the dawn" -- Michael Balcon -- Woman to Woman -- Number Thirteen -- Introducing the future Mrs. Hitchcock -- A melodramatic shooting: The Pleasure Garden -- The Mountain Eagle -- The first true Hitchcock: The Lodger -- Creating a purely visual form -- The glass floor -- Handcuffs and sex -- Why Hitchcock appears in his films -- Downhill -- Easy Virtue -- The Ring and One-Round Jack -- The Farmer's Wife -- The Griffith influence -- Champagne -- The last silent movie: The Manxman -- Hitchcock's first sound film: Blackmail -- The Shuftan process -- Juno and the Paycock -- Why Hitchcock will never film Crime and Punishment -- What is suspense? -- Murder -- The Skin Game -- Rich and Strange -- Two innocents in Paris -- Number Seventeen -- Cats, cats everywhere -- Waltzes from Vienna -- The lowest ebb and the comeback
  • The Man Who Knew Too Much -- When Churchill was chief of police -- M -- From "The One Note Man" to the deadly cymbols -- Clarification and simplification -- The Thirty-nine Steps -- John Buchan's influence -- Understatement -- An old, bawdy story -- Mr. Memory -- Slice of life and slice of cake -- The Secret Agent -- You don't always need a happy ending -- What do they have in Switzerland? -- Sabotage -- The child and the bomb -- An example of suspense -- The Lady Vanishes -- The plausibles -- A wire from David O. Selznick -- The last British film: Jamaica Inn -- Some conclusions about the British period -- Rebecca: A Cinderella-like story -- "I've never received an Oscar" -- Foreign Correspondent -- Gary Cooper's mistake -- In Holland, windmills and rain -- The blood-stained tulip -- What's a MacGuffin? -- Flashback to The Thirty-nine Steps -- Mr. and Mrs. Smith -- "All actors are cattle" -- Suspicion -- The luminous glass of milk
  • Sabotage versus Saboteur -- A mass of ideas clutters up a picture -- Shadow of a Doubt -- Tribute to Thornton Wilder -- "The Merry Widow" -- An idealistic killer -- Lifeboat -- A microcosm of war -- Like a pack of dogs -- Return to London -- Modest war contribution: Bon Voyage and Adventure Malgache -- Return to America -- Spellbound -- Collaboration with Salvador Dali -- Nortorious -- "The Song of the Flame" -- The uranium MacGuffin -- Under surveillance by the FBI -- A film about the cinema -- The Paradine Case -- Can Gregory Peck play a British lawyer? -- An intricate shot -- Horny hands, like the devil! -- Rope: From 7:30 to 9:15 in one shot -- Clouds of spun glass -- Colors and shadows -- Walls that fade away -- Films must be cut -- How to make noises rise from the street -- Under Capricorn -- Infantilism and other errors in judgment -- Run for cover! -- "Ingrid, it's only a movie!" -- Stage Fright -- The Flashback the lied
  • The better the villian, the better the picture -- Spectacular comeback via Strangers on a Train -- A monopoly on the suspense genre -- The little man who crawled -- A bitchy wife -- I Confess -- A "barbaric sophisticate" -- The sanctity of confession -- Experience alone is not enough -- Fear of the police -- Story of a menage a trois -- Dial M for Murder -- Filming in 3-D -- The theater confines the action -- Rear Window -- The Kuleshov experiment -- We are all voyeurs -- Death of a small dog -- The size of the image has a dramatic purpose -- The surprise kiss versus the suspense kiss -- The Patrick Mahon case and the Dr. Crippen case -- To Catch a Thief -- Sex on the screen -- The Trouble with Harry -- The humor of understatement -- The Man Who Knew Too Much -- A knife in the back -- The clash of cymbals
  • The Wrong Man -- Absolute authenticity -- Vertigo -- The usual alternatives: suspense or surprise -- Necrophilia -- Kim Novak on the set -- Two projects that were never filmed -- A political suspense movie -- North by Northwest -- The importance of photographic documentation -- Dealing with time and space -- The practice of the absurd -- The body that came from nowhere -- Ideas in the middle of the night -- The longest kiss in screen history -- A case of pure exhibitionism -- Never waste space -- Screen imagery is make-believe -- Psycho -- Janet Leigh's brassiere -- Red herrings -- Directing the audience -- How Arbogast was killed -- A shower stabbing -- Stuffed birds -- How to get mass emotions -- Psycho: A film-maker's film
  • The Birds -- The elderly ornithologist -- The gouged-out eyes -- The girl in a gilded cage -- Improvisations -- The size of the image -- The scene that was dropped -- An emotional truck -- Electronic sounds -- Practical jokes -- Marnie: A fetishist love -- The Three Hostages, Mary Rose, and R.R.R.R. -- Torn Curtain -- The bus is the villian -- The scene in the factory -- Every film is a brand-new experience -- The rising curve -- The situation film versus the character film -- "I only read the London Times" -- A strictly visual mind -- Hitchcock a Catholic film-maker? -- A dream for the future: A film showing twenty-four hours in the life of a city
Control code
273102
Dimensions
28 cm
Extent
256 pages
Lccn
67016729
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations
System control number
(WaOLN)481938
Label
Hitchcock, by François Truffaut with the collaboration of Helen G. Scott
Publication
Note
  • Dialogue between Truffaut and Hitchcock
  • Translation of Le cinéma selon Hitchcock
  • Includes indexes
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Childhood -- Behind prison bars -- "Came the dawn" -- Michael Balcon -- Woman to Woman -- Number Thirteen -- Introducing the future Mrs. Hitchcock -- A melodramatic shooting: The Pleasure Garden -- The Mountain Eagle -- The first true Hitchcock: The Lodger -- Creating a purely visual form -- The glass floor -- Handcuffs and sex -- Why Hitchcock appears in his films -- Downhill -- Easy Virtue -- The Ring and One-Round Jack -- The Farmer's Wife -- The Griffith influence -- Champagne -- The last silent movie: The Manxman -- Hitchcock's first sound film: Blackmail -- The Shuftan process -- Juno and the Paycock -- Why Hitchcock will never film Crime and Punishment -- What is suspense? -- Murder -- The Skin Game -- Rich and Strange -- Two innocents in Paris -- Number Seventeen -- Cats, cats everywhere -- Waltzes from Vienna -- The lowest ebb and the comeback
  • The Man Who Knew Too Much -- When Churchill was chief of police -- M -- From "The One Note Man" to the deadly cymbols -- Clarification and simplification -- The Thirty-nine Steps -- John Buchan's influence -- Understatement -- An old, bawdy story -- Mr. Memory -- Slice of life and slice of cake -- The Secret Agent -- You don't always need a happy ending -- What do they have in Switzerland? -- Sabotage -- The child and the bomb -- An example of suspense -- The Lady Vanishes -- The plausibles -- A wire from David O. Selznick -- The last British film: Jamaica Inn -- Some conclusions about the British period -- Rebecca: A Cinderella-like story -- "I've never received an Oscar" -- Foreign Correspondent -- Gary Cooper's mistake -- In Holland, windmills and rain -- The blood-stained tulip -- What's a MacGuffin? -- Flashback to The Thirty-nine Steps -- Mr. and Mrs. Smith -- "All actors are cattle" -- Suspicion -- The luminous glass of milk
  • Sabotage versus Saboteur -- A mass of ideas clutters up a picture -- Shadow of a Doubt -- Tribute to Thornton Wilder -- "The Merry Widow" -- An idealistic killer -- Lifeboat -- A microcosm of war -- Like a pack of dogs -- Return to London -- Modest war contribution: Bon Voyage and Adventure Malgache -- Return to America -- Spellbound -- Collaboration with Salvador Dali -- Nortorious -- "The Song of the Flame" -- The uranium MacGuffin -- Under surveillance by the FBI -- A film about the cinema -- The Paradine Case -- Can Gregory Peck play a British lawyer? -- An intricate shot -- Horny hands, like the devil! -- Rope: From 7:30 to 9:15 in one shot -- Clouds of spun glass -- Colors and shadows -- Walls that fade away -- Films must be cut -- How to make noises rise from the street -- Under Capricorn -- Infantilism and other errors in judgment -- Run for cover! -- "Ingrid, it's only a movie!" -- Stage Fright -- The Flashback the lied
  • The better the villian, the better the picture -- Spectacular comeback via Strangers on a Train -- A monopoly on the suspense genre -- The little man who crawled -- A bitchy wife -- I Confess -- A "barbaric sophisticate" -- The sanctity of confession -- Experience alone is not enough -- Fear of the police -- Story of a menage a trois -- Dial M for Murder -- Filming in 3-D -- The theater confines the action -- Rear Window -- The Kuleshov experiment -- We are all voyeurs -- Death of a small dog -- The size of the image has a dramatic purpose -- The surprise kiss versus the suspense kiss -- The Patrick Mahon case and the Dr. Crippen case -- To Catch a Thief -- Sex on the screen -- The Trouble with Harry -- The humor of understatement -- The Man Who Knew Too Much -- A knife in the back -- The clash of cymbals
  • The Wrong Man -- Absolute authenticity -- Vertigo -- The usual alternatives: suspense or surprise -- Necrophilia -- Kim Novak on the set -- Two projects that were never filmed -- A political suspense movie -- North by Northwest -- The importance of photographic documentation -- Dealing with time and space -- The practice of the absurd -- The body that came from nowhere -- Ideas in the middle of the night -- The longest kiss in screen history -- A case of pure exhibitionism -- Never waste space -- Screen imagery is make-believe -- Psycho -- Janet Leigh's brassiere -- Red herrings -- Directing the audience -- How Arbogast was killed -- A shower stabbing -- Stuffed birds -- How to get mass emotions -- Psycho: A film-maker's film
  • The Birds -- The elderly ornithologist -- The gouged-out eyes -- The girl in a gilded cage -- Improvisations -- The size of the image -- The scene that was dropped -- An emotional truck -- Electronic sounds -- Practical jokes -- Marnie: A fetishist love -- The Three Hostages, Mary Rose, and R.R.R.R. -- Torn Curtain -- The bus is the villian -- The scene in the factory -- Every film is a brand-new experience -- The rising curve -- The situation film versus the character film -- "I only read the London Times" -- A strictly visual mind -- Hitchcock a Catholic film-maker? -- A dream for the future: A film showing twenty-four hours in the life of a city
Control code
273102
Dimensions
28 cm
Extent
256 pages
Lccn
67016729
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations
System control number
(WaOLN)481938

Library Locations

    • Thomas Jefferson LibraryBorrow it
      1 University Blvd, St. Louis, MO, 63121, US
      38.710138 -90.311107
Processing Feedback ...