Hitchcock
By: by François Truffaut with the collaboration of Helen G. Scott
Contributors: Hitchcock, Alfred, 1899-1980
Publisher: Simon and Schuster
Published: 1967
Place of publication: New York
Language: eng
Number of pages: 256
Subjects: Motion pictue producers and directors; Biography
Notes: Dialogue between Truffaut and Hitchcock.

Translation of Le cinéma selon Hitchcock.

Bibliography: p. 254.
Table of contents: title: Childhood; title: Behind prison bars; title: "Came the dawn"; title: Michael Balcon; title: Woman to Woman; title: Number Thirteen; title: Introducing the future Mrs. Hitchcock; title: A melodramatic shooting: The Pleasure Garden; title: The Mountain Eagle; title: The first true Hitchcock: The Lodger; title: Creating a purely visual form; title: The glass floor; title: Handcuffs and sex; title: Why Hitchcock appears in his films; title: Downhill; title: Easy Virtue; title: The Ring and One-Round Jack; title: The Farmer's Wife; title: The Griffith influence; title: Champagne; title: The last silent movie: The Manxman; title: Hitchcock's first sound film: Blackmail; title: The Shuftan process; title: Juno and the Paycock; title: Why Hitchcock will never film Crime and Punishment; title: What is suspense?; title: Murder; title: The Skin Game; title: Rich and Strange; title: Two innocents in Paris; title: Number Seventeen; title: Cats, cats everywhere; title: Waltzes from Vienna; title: The lowest ebb and the comeback; title: The Man Who Knew Too Much; title: When Churchill was chief of police; title: M; title: From "The One Note Man" to the deadly cymbols; title: Clarification and simplification; title: The Thirty-nine Steps; title: John Buchan's influence; title: Understatement; title: An old, bawdy story; title: Mr. Memory; title: Slice of life and slice of cake; title: The Secret Agent; title: You don't always need a happy ending; title: What do they have in Switzerland?; title: Sabotage; title: The child and the bomb; title: An example of suspense; title: The Lady Vanishes; title: The plausibles; title: A wire from David O. Selznick; title: The last British film: Jamaica Inn; title: Some conclusions about the British period; title: Rebecca: A Cinderella-like story; title: "I've never received an Oscar"; title: Foreign Correspondent; title: Gary Cooper's mistake; title: In Holland, windmills and rain; title: The blood-stained tulip; title: What's a MacGuffin?; title: Flashback to The Thirty-nine Steps; title: Mr. and Mrs. Smith; title: "All actors are cattle"; title: Suspicion; title: The luminous glass of milk; title: Sabotage versus Saboteur; title: A mass of ideas clutters up a picture; title: Shadow of a Doubt; title: Tribute to Thornton Wilder; title: "The Merry Widow"; title: An idealistic killer; title: Lifeboat; title: A microcosm of war; title: Like a pack of dogs; title: Return to London; title: Modest war contribution: Bon Voyage and Adventure Malgache; title: Return to America; title: Spellbound; title: Collaboration with Salvador Dali; title: Nortorious; title: "The Song of the Flame"; title: The uranium MacGuffin; title: Under surveillance by the FBI; title: A film about the cinema; title: The Paradine Case; title: Can Gregory Peck play a British lawyer?; title: An intricate shot; title: Horny hands, like the devil!; title: Rope: From 7:30 to 9:15 in one shot; title: Clouds of spun glass; title: Colors and shadows; title: Walls that fade away; title: Films must be cut; title: How to make noises rise from the street; title: Under Capricorn; title: Infantilism and other errors in judgment; title: Run for cover!; title: "Ingrid, it's only a movie!"; title: Stage Fright; title: The Flashback the lied; title: The better the villian, the better the picture; title: Spectacular comeback via Strangers on a Train; title: A monopoly on the suspense genre; title: The little man who crawled; title: A bitchy wife; title: I Confess; title: A "barbaric sophisticate"; title: The sanctity of confession; title: Experience alone is not enough; title: Fear of the police; title: Story of a menage a trois; title: Dial M for Murder; title: Filming in 3-D; title: The theater confines the action; title: Rear Window; title: The Kuleshov experiment; title: We are all voyeurs; title: Death of a small dog; title: The size of the image has a dramatic purpose; title: The surprise kiss versus the suspense kiss; title: The Patrick Mahon case and the Dr. Crippen case; title: To Catch a Thief; title: Sex on the screen; title: The Trouble with Harry; title: The humor of understatement; title: A knife in the back; title: The clash of cymbals; title: The Wrong Man; title: Absolute authenticity; title: Vertigo; title: The usual alternatives: suspense or surprise; title: Necrophilia; title: Kim Novak on the set; title: Two projects that were never filmed; title: A political suspense movie; title: North by Northwest; title: The importance of photographic documentation; title: Dealing with time and space; title: The practice of the absurd; title: The body that came from nowhere; title: Ideas in the middle of the night; title: The longest kiss in screen history; title: A case of pure exhibitionism; title: Never waste space; title: Screen imagery is make-believe; title: Psycho; title: Janet Leigh's brassiere; title: Red herrings; title: Directing the audience; title: How Arbogast was killed; title: A shower stabbing; title: Stuffed birds; title: How to get mass emotions; title: Psycho: A film-maker's film; title: The Birds; title: The elderly ornithologist; title: The gouged-out eyes; title: The girl in a gilded cage; title: Improvisations; title: The size of the image; title: The scene that was dropped; title: An emotional truck; title: Electronic sounds; title: Practical jokes; title: Marnie: A fetishist love; title: The Three Hostages, Mary Rose, and R.R.R.R.; title: Torn Curtain; title: The bus is the villian; title: The scene in the factory; title: Every film is a brand-new experience; title: The rising curve; title: The situation film versus the character film; title: "I only read the London Times"; title: A strictly visual mind; title: Hitchcock a Catholic film-maker?; title: A dream for the future: A film showing twenty-four hours in the life of a city