Luke Robinson is Casual Academic at the School of the Arts and Media, University of New South Wales Sydney and University of Technology Sydney.Melanie Robson is Adjunct Lecturer at the School of the Arts and Media, University of New South Wales Sydney

Through the close reading of single shots, the collection provides an innovative approach to the study of Hitchcock's work. An invaluable resource for researchers and scholars.

• 1. One Shot: Hitchcock's Crime ScenesLuke Robinson and Melanie Robson 2. The Lodger (1927): Contaminating British silent cinemaSebastian Smoli'nski 3. The Manxman (1929): Written on the water: Hitchcock's dissolving inkTom Gunning 4. Sabotage (1936): A thriller and its aftereffectsHelen Hughes 5. Rebecca (1940): The impure object of visionBruce Isaacs 6. Shadow of a Doubt (1943): Performing a murder(er)Melanie Robson 7. Aventure Malgache (1944): French colonial tensionsCharles Barr 8. Rope (1948): Chromatic design and neon lightSarah Street 9. Rear Window (1954): Intermedialities of peeping in the pluralMartin P. Rossouw 10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional mythSusana Viegas 11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in HollywoodMegan Carrigy 12. The Wrong Man (1956): Towards singularityNoa Steimatsky 13. Vertigo (1958): Labor in a single shotDomietta Torlasco 14. The Birds (1963): Trauma and the right of replyJulian Murphet 15. Marnie (1964): RestroomJodi Brooks 16. Frenzy (1972): Pulling focus between a woman's face and a face of deathLuke Robinson Index

Luke Robinson is Casual Academic at the School of the Arts and Media, University of New South Wales Sydney and University of Technology Sydney.Melanie Robson is Adjunct Lecturer at the School of the Arts and Media, University of New South Wales Sydney

Through the close reading of single shots, the collection provides an innovative approach to the study of Hitchcock's work. An invaluable resource for researchers and scholars.

• 1. One Shot: Hitchcock's Crime ScenesLuke Robinson and Melanie Robson 2. The Lodger (1927): Contaminating British silent cinemaSebastian Smoli'nski 3. The Manxman (1929): Written on the water: Hitchcock's dissolving inkTom Gunning 4. Sabotage (1936): A thriller and its aftereffectsHelen Hughes 5. Rebecca (1940): The impure object of visionBruce Isaacs 6. Shadow of a Doubt (1943): Performing a murder(er)Melanie Robson 7. Aventure Malgache (1944): French colonial tensionsCharles Barr 8. Rope (1948): Chromatic design and neon lightSarah Street 9. Rear Window (1954): Intermedialities of peeping in the pluralMartin P. Rossouw 10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional mythSusana Viegas 11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in HollywoodMegan Carrigy 12. The Wrong Man (1956): Towards singularityNoa Steimatsky 13. Vertigo (1958): Labor in a single shotDomietta Torlasco 14. The Birds (1963): Trauma and the right of replyJulian Murphet 15. Marnie (1964): RestroomJodi Brooks 16. Frenzy (1972): Pulling focus between a woman's face and a face of deathLuke Robinson Index

Luke Robinson is Casual Academic at the School of the Arts and Media, University of New South Wales Sydney and University of Technology Sydney.Melanie Robson is Adjunct Lecturer at the School of the Arts and Media, University of New South Wales Sydney

Through the close reading of single shots, the collection provides an innovative approach to the study of Hitchcock's work. An invaluable resource for researchers and scholars.

• 1. One Shot: Hitchcock's Crime ScenesLuke Robinson and Melanie Robson 2. The Lodger (1927): Contaminating British silent cinemaSebastian Smoli'nski 3. The Manxman (1929): Written on the water: Hitchcock's dissolving inkTom Gunning 4. Sabotage (1936): A thriller and its aftereffectsHelen Hughes 5. Rebecca (1940): The impure object of visionBruce Isaacs 6. Shadow of a Doubt (1943): Performing a murder(er)Melanie Robson 7. Aventure Malgache (1944): French colonial tensionsCharles Barr 8. Rope (1948): Chromatic design and neon lightSarah Street 9. Rear Window (1954): Intermedialities of peeping in the pluralMartin P. Rossouw 10. To Catch a Thief (1955): Stanley Cavell and the end of a conventional mythSusana Viegas 11. The Man Who Knew Too Much (1956): Hitchcock remakes himself in HollywoodMegan Carrigy 12. The Wrong Man (1956): Towards singularityNoa Steimatsky 13. Vertigo (1958): Labor in a single shotDomietta Torlasco 14. The Birds (1963): Trauma and the right of replyJulian Murphet 15. Marnie (1964): RestroomJodi Brooks 16. Frenzy (1972): Pulling focus between a woman's face and a face of deathLuke Robinson Index