Record ID | ia:hitchcock00truf |
Source | Internet Archive |
Download MARC XML | https://archive.org/download/hitchcock00truf/hitchcock00truf_marc.xml |
Download MARC binary | https://www.archive.org/download/hitchcock00truf/hitchcock00truf_meta.mrc |
LEADER: 07987cam 22006851 4500
001 ocm00273102
003 OCoLC
005 20101011121551.0
008 771130s1967 nyuac j b 000 0beng
010 $a 67016729
040 $aDLC$cDLC$dMUQ$dBTCTA$dXY4$dYDXCP$dOCLCQ$dP4I
019 $a5290973$a10519552
035 $a(OCoLC)273102$z(OCoLC)5290973$z(OCoLC)10519552
041 1 $aeng$hund
050 00 $aPN1998.A3$bH573
082 00 $a791.43/023/0924
100 1 $aTruffaut, François.
245 10 $aHitchcock,$cby François Truffaut with the collaboration of Helen G. Scott.
260 $aNew York,$bSimon and Schuster$c[1967]
300 $a256 p.$billus., ports.$c28 cm.
500 $aDialogue between Truffaut and Hitchcock.
500 $aTranslation of Le cinéma selon Hitchcock.
504 $aBibliography: p. 254.
505 0 $aChildhood -- 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
505 0 $aThe 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
505 0 $aSabotage 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
505 0 $aThe 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
505 0 $aThe 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
505 0 $aThe 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
600 10 $aHitchcock, Alfred,$d1899-1980.
600 16 $aHitchcock, Alfred,$d1899-1980.
650 1 $aMotion pictue producers and directors$vBiography.
700 1 $aHitchcock, Alfred,$d1899-1980.
938 $aBaker and Taylor$bBTCP$n67016729
938 $aYBP Library Services$bYANK$n518708
952 $a273102$zDLC$bLIBRARY OF CONGRESS$hFull; not ex.$iLCC$kDDC$tContents$u20100528
952 $a125901168$zMMX$bMUSEUM OF MODERN ART, THE$hFull$iLCC$kDDC$u20100718
952 $a126849408$zUVV$bFASHION INST OF TECH LIBR$hFull$iLCC$kDDC$u20100803
952 $a134923478$zRBN$bBROWN UNIV$hFull; not ex.$iLCC$u20100714
952 $a177207098$zPUL$bPRINCETON UNIV$hFull; not ex.$iLCC$kDDC$u20100721
952 $a183101022$zN15$bNEW YORK UNIV, GROUP BATCHLOAD$hOther$iLCC$kDDC$u20100703
952 $a188018216$zPAU$bUNIV OF PENNSYLVANIA$hFull; not ex.$iLCC$u20100715
952 $a214546080$zCUY$bUNIV OF CALIFORNIA, BERKELEY$hFull$u20100713
952 $a230159058$zHFL$bHARVARD UNIV, FINE ARTS LIBR$hLess-than-full batch$iLCC$kDDC$u20100713
952 $a232390192$zMCS$bHARVARD UNIV$hLess-than-full batch$iLCC$kDDC$u20100729
952 $a234931720$zHLS$bHARVARD UNIV, HARVARD COL LIBR$hLess-than-full batch$iLCC$kDDC$u20100715
952 $a253150324$zVVT$bCOLUMBIA UNIV, TEACHERS COL$hFull; not ex.$iLCC$u20100711
952 $a274215395$zSTF$bSTANFORD UNIV LIBR$hFull; not ex.$iLCC$kDDC$u20100907
952 $a368694133$zUBY$bBRIGHAM YOUNG UNIV LIBR$hFull; not ex.$iLCC$kDDC$u20100728
952 $a467013288$zTEU$bTEMPLE UNIV$hFull; not ex.$u20100718
952 $a487757683$zN15$bNEW YORK UNIV, GROUP BATCHLOAD$hOther$iLCC$kDDC$u20100915
952 $a487757697$zN15$bNEW YORK UNIV, GROUP BATCHLOAD$hOther$iLCC$kDDC$u20100915
952 $a487757708$zN15$bNEW YORK UNIV, GROUP BATCHLOAD$hOther$iLCC$kDDC$u20100915
029 1 $aNLGGC$b822568012
029 1 $aNZ1$b2892151
029 1 $aAU@$b000001121663
029 1 $aZWZ$b046049754
029 1 $aHEBIS$b199229678
994 $aZ0$bPMR
948 $hNO HOLDINGS IN PMR - 1042 OTHER HOLDINGS