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Call No: 81 HIT POM
Author: Pomerance, Murray
Place: Albany
Publisher: State University of New York Press
PubDate: 2019
PhysDes: 274 pages : illustrated ; 24cm
Subject: HITCHCOCK, ALFRED; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); REAR WINDOW (US, Alfred Hitchcock, 1954); SABOTEUR (US, Alfred Hitchcock, 1942); REBECCA (US, Alfred Hitchcock, 1940); TO CATCH A THIEF (US, Alfred Hitchcock, 1955); FAMILY PLOT (US, Alfred Hitchcock, 1976); DREAMS IN FILMS
Summary: A Dream of Hitchcock examines the recurring motif of the dream in Hitchcock’s work—dreamscapes, dream processes, the dream effect—by focusing on close readings of six celebrated but often misinterpreted films: Strangers on a Train, Rebecca, Saboteur, Rear Window, To Catch a Thief, and Family Plot. The Hitchcockian dream, as invoked here, is not so much a dream as it is a way of understanding, in its dramatic contexts, an “unearthly,” irrational quality in the filmmaker’s work. Rebecca revolves around problems of memory; To Catch a Thief around uncertainty; Saboteur around pungent aspiration; Family Plot around intuition; Rear Windowaround expansive imagination; and Strangers on a Train around delirious madness. All of these films enunciate the return of the past, the invocation of a boundary beyond which experience becomes unpredictable and uncertain, and the celebration of values that transcend narrative resolution. Murray Pomerance’s distinctive method for thinking through Hitchcock’s work allows these films to inform theorization, not the other way around. His original, provocative, and groundbreaking explorations point to the importance of fantasy, improbability, doubt disconcertion, hope, memory, intuition, and belief, through which the oneiric comes to the center of waking life. -- publisher's web site
ISBN: 9781438472072

Call No: 81HIT LAV
Author: La Valley, Albert J. (ed.)
Source: US
Place: Englewood Cliffs
Publisher: Prentice Hall
PubDate: 1972
PhysDes: 186 p. : ill. ; 24 cm
Series: Film Focus
Subject: HITCHCOCK, ALFRED; BAZIN, ANDRE; BOGDANOVICH, PETER; SARRIS, ANDREW; DURGNAT, RAYMOND; AGEE, JAMES; KAEL, PAULINE; CHANDLER, RAYMOND; ROHMER, ERIC; CHABROL, CLAUDE; TRUFFAUT, FRANCOIS; NOTORIOUS (US, Alfred Hitchcock, 1946); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); REAR WINDOW (US, Alfred Hitchcock, 1954); WRONG MAN, THE (US, Alfred Hitchcock, 1957); PSYCHO (US, Alfred Hitchcock, 1960)
ISBN: 0133923657
Donation: donated by the family of Wayne Levy, 2006
Contents: Introduction - Albert J. LaValley -- Chronology -- HITCHCOCK ON HITCHCOCK -- I wish I didn't have to shoot the picture: an interview with Alfred Hitchcock - Budge Crawley, Fletcher Markle, and Gerald Pratley -- Interviews with Alfred Hitchcock - Peter Bogdanovich -- Direction - Alfred Hitchcock -- Rear Window - Alfred Hitchcock -- HITCHCOCK ON CONTROVERSY -- Alfred Hitchcock - Lindsay Anderson -- Hitchcock versus Hitchcock - Andre Bazin -- Why we should take Hitchcock seriously - Robin Wood -- Hitchcock - Andrew Sarris -- The strange case of Alfred Hitchcock, part three - Raymond Durgnat -- THE FILMS -- James Agee - Notorious -- Pauline Kael - Three Films -- Raymond Chandler - Notebooks on Strangers on a Train -- Ronald Christ - Strangers on a Train - the pattern of encounter -- Eric Rohmer and Claude Chabrol - The Wrong Man -- Leo Braudy - Hitchcock, Truffaut, and the irresponsible audience -- Raymond Durgnat - Inside Norman Bates -- John Crosby - Macabre Merriment -- Jack Edmund Nolan - Hitchcock's TV films -- Analysis of the Plane and Cornfield Chase sequence in North by Northwest

Call No: 81 HIT MIL
Author: Miller, D.A.
Edition: 2016
Source: UK/US
Place: Chicago and London
Publisher: University of Chicago Press
PubDate: 2016
PhysDes: 186 pages : illustrations ; 23 cm
Subject: HITCHCOCK, ALFRED; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); ROPE (US, Alfred Hitchcock, 1948); WRONG MAN, THE (US, Alfred Hitchcock, 1957)
Summary: "No filmmaker has more successfully courted mass-audience understanding than Alfred Hitchcock, and none has been studied more intensively by scholars. In Hidden Hitchcock, D. A. Miller does what seems impossible: he discovers what has remained unseen in Hitchcock’s movies, a secret style that imbues his films with a radical duplicity. Focusing on three films—Strangers on a Train, Rope, and The Wrong Man—Miller shows how Hitchcock anticipates, even demands a “Too-Close Viewer.” Dwelling within us all and vigilant even when everything appears to be in good order, this Too-Close Viewer attempts to see more than the director points out, to expand the space of the film and the duration of the viewing experience. And, thanks to Hidden Hitchcock, that obsessive attention is rewarded. In Hitchcock’s visual puns, his so-called continuity errors, and his hidden appearances (not to be confused with his cameos), Miller finds wellsprings of enigma. Hidden Hitchcock is a revelatory work that not only shows how little we know this best known of filmmakers, but also how near such too-close viewing comes to cinephilic madness." -- BOOK JACKET
Notes: Includes bibliographical references (pages 154-186)
ISBN: 9780226374673
Donation: Senses of Cinema
Contents: Hidden pictures (Strangers on a train) -- Understyle (Rope) -- The long Wrong Man

Call No: 81HIT TRU
Author: Truffaut, Francois, 1932; Hitchcock, Alfred, 1899
Place: New York
Publisher: Simon and Schuster
PubDate: 1967]
PhysDes: 256 p. illus., ports. 28 cm
Subject: HITCHCOCK, ALFRED; LODGER, THE (UK, Alfred Hitchcock, 1926); FARMER'S WIFE, THE (UK, Alfred Hitchcock, 1928); BLACKMAIL (UK, Alfred Hitchcock, 1929); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); LADY VANISHES (US, Alfred Hitchcock, 1938); REBECCA (US, Alfred Hitchcock, 1940); SUSPICION (US, Alfred Hitchcock, 1941); LIFEBOAT (US, Alfred Hitchcock, 1944); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); SPELLBOUND (US, Alfred Hitchcock, 1945); NOTORIOUS (US, Alfred Hitchcock, 1946); VERTIGO (US, Alfred Hitchcock, 1958); ROPE (US, Alfred Hitchcock, 1948); UNDER CAPRICORN (UK, Alfred Hitchcock, 1949); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); BIRDS, THE (US, Alfred Hitchcock, 1963); PSYCHO (US, Alfred Hitchcock, 1960); I CONFESS (US, Alfred Hitchcock, 1953); DIAL M FOR MURDER (US, Alfred Hitchcock, 1954); TO CATCH A THIEF (US, Alfred Hitchcock, 1955); WRONG MAN, THE (US, Alfred Hitchcock, 1957); NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959); MARNIE (US, Alfred Hitchcock, 1964); REAR WINDOW (US, Alfred Hitchcock, 1954)
Summary: Dialogue between Truffaut and Hitchcock
Notes: Translation of Le cinema selon Hitchcock; Bibliography: p. 254
LON: 67016729; 1121663
ID2: 206

Call No: 81HIT HIT
CorpAuthor: St. Lucia University College
Source: AT
Place: Queensland
Publisher: University of Queensland
PubDate: 1966
PhysDes: 50 p. ; 24cm
Subject: HITCHCOCK, ALFRED; LODGER, THE (UK, Alfred Hitchcock, 1926); THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); LADY VANISHES (US, Alfred Hitchcock, 1938); REBECCA (US, Alfred Hitchcock, 1940); SABOTEUR (US, Alfred Hitchcock, 1942); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); ROPE (US, Alfred Hitchcock, 1948); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); I CONFESS (US, Alfred Hitchcock, 1953); DIAL M FOR MURDER (US, Alfred Hitchcock, 1954); TO CATCH A THIEF (US, Alfred Hitchcock, 1955); WRONG MAN, THE (US, Alfred Hitchcock, 1957); PSYCHO (US, Alfred Hitchcock, 1960); BIRDS, THE (US, Alfred Hitchcock, 1963); MARNIE (US, Alfred Hitchcock, 1964)
Notes: Incudes festival programme

Call No: 81HIT HIT
Edition: 2nd ed
Source: UK/USA
Place: Chichester, U.K. ; Malden, MA
Publisher: Wiley-Blackwell
PubDate: 2009
PhysDes: xxvii, 394 p. : ill. ; 25 cm
Subject: HITCHCOCK, ALFRED; LODGER, THE (UK, Alfred Hitchcock, 1926); BLACKMAIL (UK, Alfred Hitchcock, 1929); MURDER (UK, Alfred Hitchcock, 1930); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); LADY VANISHES (US, Alfred Hitchcock, 1938); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); SPELLBOUND (US, Alfred Hitchcock, 1945); NOTORIOUS (US, Alfred Hitchcock, 1946); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); REAR WINDOW (US, Alfred Hitchcock, 1954); WRONG MAN, THE (US, Alfred Hitchcock, 1957); VERTIGO (US, Alfred Hitchcock, 1958); NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959); BIRDS, THE (US, Alfred Hitchcock, 1963); MARNIE (US, Alfred Hitchcock, 1964); FRENZY (US, Alfred Hitchcock, 1972); PSYCHO (US, Alfred Hitchcock, 1960)
Summary: "Alfred Hitchcock, the "Master of Suspense," has been internationally recognized as a technical and stylistic innovator in the history of cinema. A Hitchcock Reader grows out of the editors' desire as classroom teachers for a comprehensive and critical text in introductory or advanced courses devoted to the director's films. Yet the book should also satisfy scholars by providing an updated anthology representing the rich variety of critical responses that Hitchcock's films have evoked over the years." "This new edition of A Hitchcock Reader aims to preserve what has been so satisfying - and successful - in the first edition. This new edition, however, will update scholarship since publication of the first edition; offer entirely new editorial matter, including a general introduction to the volume; more visuals; and comprehensive bibliographies of suggested readings, references, and works cited."--BOOK JACKET
Notes: Includes bibliographical references and index
ISBN: 9781405155564
Contents: Preface -- Introduction -- Part One: Taking Hitchcock Seriously [Section Intro and Bibliography] -- 1. Hitch and His Public: Jean Douchet -- 2. Hitchcock's Imagery and Art: Maurice Yacowar -- 3. Retrospective: Robin Wood -- 4. Hitch as Matrix Figure: Hitchcock and Twentieth Century Cinema: John Orr -- Part Two: Hitchcock in Britain [Section Intro and Bibliography] -- 5. Hitchcock's The Lodger: Lesley Brill -- 6. Criticism and/as History:Rereading Blackmail -- Leland Poague -- 7. Alfred Hitchcock's Murder: Theater, Authorship, and the Presence of the Camera: William Rothman -- 8. Consolidation of a Classical Style: The Man Who Knew Too Much: Elizabeth Weis -- 9. Through a Woman's Eyes: Sexuality and Memory in The 39 Steps: Charles L. P. Silet -- 10. Rematerializing the Vanishing "Lady": Feminism, Hitchcock, and Interpretation: Patrice Petro -- Part Three: Hitchcock in Hollywood [Section Intro and Bibliography] -- 11. All in the Family: Alfred Hitchcock's Shadow of a Doubt: James McLaughlin -- 12. The Moral Universe of Hitchcock's Spellbound: Thomas Hyde -- 13. Notorious: Perversion par Excellence: Richard Abel -- 14. Strangers on a Train: Robin Wood -- Part Four: The Later Films [Section Intro and Bibliography] -- 15. Hitchcock's Rear Window: Reflexivity and the Critique of Voyeurism: Robert Stam and Roberta Pearson -- 16. Finding the Right Man in The Wrong Man: Marshall Deutelbaum -- 17. Male Desire, Male Anxiety: The Essential Hitchcock: Robin Wood -- 18. A Closer Look at Scopophilia: Mulvey, Hitchcock and Vertigo: Marian Keane -- 19. North by Northwest: Stanley Cavell -- 20. "Oh, I See ": The Birds and the Culmination of Hitchcock's Romantic Vision: John P. McCombes -- 21. Mark's Marnie: Michael Piso -- 22.The Queer Voice in Marnie: Lucretia Knapp -- 23. Rituals of Defilement: Frenzy: Tania Modleski -- Part Five: Hitchcock and Film Theory: A Psycho Dossier [Section Intro and Bibliography] -- 24. Psychosis, Neurosis, Perversion: Raymond Bellour -- 25. Psycho's Allegory of Seeing: Christopher Morris -- 26. On Being Norman: Performance and Inner Life in Hitchcock,s Psycho: Deborah Thomas -- Index.

Call No: 81HIT MEN
Source: US
Place: New York
Publisher: Oxford University Press
PubDate: 2012
PhysDes: viii, 269 p. : ill. ; 24 cm
Subject: LITERATURE AND THE CINEMA; HITCHCOCK, ALFRED; JAMES, HENRY; VERTIGO (US, Alfred Hitchcock, 1958); PSYCHO (US, Alfred Hitchcock, 1960); REAR WINDOW (US, Alfred Hitchcock, 1954); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); MAN WHO KNEW TOO MUCH, THE (US, Alfred Hitchcock, 1955); BLACKMAIL (UK, Alfred Hitchcock, 1929); NOTORIOUS (US, Alfred Hitchcock, 1946); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943)
Summary: "Henry James and Alfred Hitchcock knew too much. Self-imposed exiles, they approached American and European society as inside-outsiders, a position that afforded them a kind of double vision. Masters of their arts, manipulators of their audiences, prescient and path-breaking in their techniques, these demanding and meticulous craftsmen produced some of the greatest art of the last 150 years. This capacious collection, with its brilliant insights and intellectual surprises, is equally compelling in its range and cogency for Jmes readers and film theorists, for Hitchcock fans and James scholars." -- BOOK BLURB
ISBN: 9780199764433
Contents: Reading James with Hitchcock, reading Hitchcock with James / Susan Griffin and Alan Nadel -- National bodies / Susan Griffin -- Secrets, lies, and virtuous attachments : The ambassadors and The 39 steps / Brenda Austin-Smith -- Henry James and Alfred Hitchcock after the American century : circulation and non-return in The American scene and Strangers on a train / Brian T. Edwards -- Colonial discourse and the unheard other in Washington Square and The man who knew too much / Alan Nadel -- Bump : concussive knowledge in James and Hitchcock / Mary Ann O'Farrell -- James's Birdcage/ Hitchcock's Birds / Patrick O'Donnell -- Sounds of silence in The wings of the dove and Blackmail / Donatella Izzo -- The perfect enigma / Judith Roof -- Hands, objects and love in James and Hitchcock : Reading the touch in The golden bowl and Notorious / Jonathan Freedman -- The touch of the real : circumscribing Vertigo / Eric Savoy -- Specters of respectability : Victorian horrors in The turn of the Screw and Psycho / Aviva Briefel -- Caged heat : feminist rebellion in Henry James's In the cage and Alfred Hitchcock's Rear window / John Carlos Rowe -- Shadows of modernity : What Maisie knew and Shadow of a Doubt / Thomas B. Byers -- Awkward ages : James and Hitchcock in between / Mark Goble

Author: Gardner, Geoffrey
PhysDes: Review Credits
Subject: SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); HITCHCOCK, ALFRED; STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951)
Summary: Brief review with compares the use of symmetry in plot and characterisation in Hitchcock's "Shadow of a Doubt" and "Strangers on a Train".

Call No: 81HIT DUR
Author: Durgnat, Raymond
Source: UK
Place: London
Publisher: Faber and Faber
PubDate: 1974
PhysDes: 419 p. ; 24 cm
Subject: HITCHCOCK, ALFRED; PLEASURE GARDEN, THE (UK, Alfred Hitchcock, 1925); MOUNTAIN EAGLE, THE (UK/GG, Alfred Hitchcock, 1926); LODGER, THE (UK, Alfred Hitchcock, 1926); DOWNHILL (UK, Alfred Hitchcock, 1927); EASY VIRTUE (UK, Alfred Hitchcock, 1927); RING, THE (UK, Alfred Hitchcock, 1927); FARMER'S WIFE, THE (UK, Alfred Hitchcock, 1928); CHAMPAGNE (UK, Alfred Hitchcock, 1928); MANXMAN, THE (UK, Alfred Hitchcock, 1929); JUNO AND THE PAYCOCK (UK, Alfred Hitchcock, 1930); MURDER (UK, Alfred Hitchcock, 1930); SKIN GAME, THE (UK, Alfred Hitchcock, 1931); RICH AND STRANGE (UK, Alfred Hitchcock, 1932); NUMBER SEVENTEEN (UK, Alfred Hitchcock, 1932); LORD CAMBER'S LADIES (UK, Alfred Hitchcock, 1933); WALTZES FROM VIENNA (UK, Alfred Hitchcock, 1934); MAN WHO KNEW TOO MUCH, THE (UK, Alfred Hitchcock, 1936); THIRTY-NINE STEPS, THE (UK, Alfred Hitchcock, 1935); SECRET AGENT, THE (UK, Alfred Hitchcock, 1936); SABOTAGE (UK, Alfred Hitchcock, 1936); YOUNG AND INNOCENT (UK, Alfred Hitchcock, 1937); LADY VANISHES (US, Alfred Hitchcock, 1938); JAMAICA INN (UK, Alfred Hitchcock, 1939); REBECCA (US, Alfred Hitchcock, 1940); FOREIGN CORRESPONDENT (US, Alfred Hitchcock, 1940); MR. AND MRS. SMITH (US, Alfred Hitchcock, 1941); SUSPICION (US, Alfred Hitchcock, 1941); SABOTEUR (US, Alfred Hitchcock, 1942); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); LIFEBOAT (US, Alfred Hitchcock, 1944); BON VOYAGE (UK, Alfred Hitchcock, 1944); AVENTURE MALGACHE (UK, Alfred Hitchcock, 1944); SPELLBOUND (US, Alfred Hitchcock, 1945); NOTORIOUS (US, Alfred Hitchcock, 1946); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); ROPE (US, Alfred Hitchcock, 1948); UNDER CAPRICORN (UK, Alfred Hitchcock, 1949); STAGE FRIGHT (UK, Alfred Hitchcock, 1950); STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951); I CONFESS (US, Alfred Hitchcock, 1953); DIAL M FOR MURDER (US, Alfred Hitchcock, 1954); REAR WINDOW (US, Alfred Hitchcock, 1954); TO CATCH A THIEF (US, Alfred Hitchcock, 1955); TROUBLE WITH HARRY, THE (US, Alfred Hitchcock, 1955); MAN WHO KNEW TOO MUCH, THE (US, Alfred Hitchcock, 1955); WRONG MAN, THE (US, Alfred Hitchcock, 1957); VERTIGO (US, Alfred Hitchcock, 1958); PSYCHO (US, Alfred Hitchcock, 1960); BIRDS, THE (US, Alfred Hitchcock, 1963); MARNIE (US, Alfred Hitchcock, 1964); TORN CURTAIN (US, Alfred Hitchcock, 1966); TOPAZ (US, Alfred Hitchcock, 1969); FRENZY (US, Alfred Hitchcock, 1972); NORTH BY NORTHWEST (US, Alfred Hitchcock, 1959)
ISBN: 0571099661

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Study guide
Subject: STRANGERS ON A TRAIN (US, Alfred Hitchcock, 1951)