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Autor: François Truffaut; Alfred Hitchcock
Editorial: New York, Simon and Schuster [1967]
Edición/Formato:   Print book : Biografía : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
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Género/Forma: Biography
Persona designada: Alfred Hitchcock; Alfred Hitchcock; Alfred Hitchcock
Tipo de material: Biografía
Tipo de documento: Libro/Texto
Todos autores / colaboradores: François Truffaut; Alfred Hitchcock
Número OCLC: 273102
Notas: Dialogue between Truffaut and Hitchcock.
Translation of Le cinéma selon Hitchcock.
Descripción: 256 pages illustrations, portraits 28 cm
Contenido: 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.
Otros títulos: Cinéma selon Hitchcock.
Responsabilidad: by François Truffaut with the collaboration of Helen G. Scott.
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