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Full Description
Alfred Hitchcock was a major figure in the development and flourishing of film noir. His noir films became an inspirational foundation of the neo-noir movement beginning in the 1970s, from Brian de Palma's mash-up homages to Hitchcock originals such as Obsession (1976) and Body Double (1984) to the dark political thrillers of the era that explore the underside of American life, all of which owe a substantial debt to Hitchcock.
However, the central role of Hitchcock in the long history of film noir has seldom been acknowledged in work devoted to his career and noir criticism more generally. Instead, there has been a tendency to consider Hitchcock's many dark thrillers and crime melodramas as sui generis, that is, as "Hitchcock films" that are somehow separate and distinct from industry trends. But this is to take a narrow view of the director's accomplishments that underestimates his substantial contributions to film history.
Alfred Hitchcock and Film Noir will be the first book-length treatment of the impressive corpus of Hitchcock noir films considered as such, as well as of his connection more generally to the emergence and flourishing of this important cinematic trend.
Contents
Acknowledgements
Notes on Contributors
Illustrations
Chapter 1. Introduction: The Dark Side and Hitchcock's Early Noirs - R. Barton Palmer and Homer B. Pettey
Chapter 2. The 39 Steps (1935) and the Hard-Boiled Tradition - Homer B. Pettey
Chapter 3. Hitchcock's Gothic Noir (Rebecca [1940] and The Birds [1962]): Haunted and Haunting Women and Les Oiselles Fatales - Julie Grossman
Chapter 4. The Americanization of Hitchcock: The Precariousness of Democratic Agency in War Noir - Alan Woolfolk
Chapter 5. Suspicion (1941): A Noir Woman's Film - Florence Jacobowitz
Chapter 6. Unhitched: Joan Harrison's Noir Marriage Plots - Mark Osteen
Chapter 7. Noir Americana Aesthetics in Shadow of a Doubt (1943) - Elisabeth Bronfen
Chapter 8. What's Love Got to Do with It? Reading Spellbound (1945) Through Marnie (1964) in the Time of #MeToo - Thomas Leitch
Chapter 9. Designing the Notorious Woman: Costume, Characterisation and Star Persona in the Fabrication of the 'Femme Fatale' - Helen Hanson
Chapter 10. The In-Between of Stage and Screen: Rope (1948), Stage Fright (1950), and Dial M for Murder (1954) - Bruce Isaacs
Chapter 11. Upending Noir in Strangers on a Train (1951) - Lee Clark Mitchell
Chapter 12. I Confess (1953): Hitchcock and the "Great Darkness" - Jim Leach
Chapter 13. Crossfire of Knowledge: Noir and Tropical Dualism - Murray Pomerance
Chapter 14. The Wrong Man (1956): Hitchcock's Contribution to the Noir "Film of Fact" Production Cycle - R. Barton Palmer
Chapter 15. The Midge Ending: Vertigo (1958) and The Role of the Third Woman - Jans B. Wager
Chapter 16. Territorial Imperative: the Dark Landscape of the Body in Psycho (1960) and Frenzy (1972) - Jennifer L. Jenkins
Chapter 17. The Weak Link in the Chain: Copenhagen and Cold War Noir in Hitchcock's Torn Curtain (1966) and Topaz (1969) - Ian Scott
Chapter 18. Epilogue - Rear Window (1954) and North by Northwest (1959) - Homer B. Pettey and R. Barton Palmer
Chapter 19. Bibliography
Index
