Hitchcock

Richard Allen is author of Projecting Illusion (1995). He has edited numerous books on the philosophy and aesthetics of film including Hitchcock: Centenary Essays (1999) with Sam Ishii[1]Gonzáles. He is also author of a forthcoming book on Hitchcock entitled Hitchcock and Cinema: Storytelling, Sexuality and Style. Sam Ishii-Gonzáles teaches aesthetics and film theory at New York University and the Film/Media Department at Hunter College. He is co-editor of Hitchcock: Centenary Essays (with Richard Allen, 1999) and has published essays on Luis Buñuel, David Lynch, and the painter Francis Bacon.

• Introduction PART I Authorship and aesthetics 1 Hitch: A tale of two cities (London and Los Angeles) 2 Hitchcock and humor 3 Doubles and doubts in Hitchcock: the German connection 4 The object and the face: Notorious, Bergman and the close-up 5 Unknown Hitchcock: the unrealized projects PART II French Hitchcock 6 To catch a liar: Bazin, Chabrol and Truffaut encounter Hitchcock 7 Hitchcock, The First Forty-Four Films: Chabrol and Rohmer’s “Politique des Auteurs” 8 Hitchcock with Deleuze PART III Poetics and politics of identity 9 Music and identity: the struggle for harmony in Vertigo 10 The silence of The Birds: sound aesthetics and public space in later Hitchcock 11 The Master, the Maniac, and Frenzy: Hitchcock’s legacy of horror 12 Hitchcock’s Ireland: the performance of Irish identity in Juno and the Paycock and Under Capricorn 13 Hitchcock and hom(m)osexuality PART IV Death and transfiguration 14 Death drives 15 Of “farther uses of the dead to the living”: Hitchcock and Bentham 16 Is there a proper way to remake a Hitchcock film?

"essays in this collection show innovative approaches to understanding Hitchcock's vital legacy." --The MacGuffin, an online scholarly study of Alfred Hitchcock