R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Homer B. Pettey is Professor Emeritus of Film and Comparative Literature at the University of Arizona. He serves as the founding and general editor for Global Film Directors (Rutgers U.P.), Global Film Studios (Edinburgh U.P.), and International Stars (Edinburgh U.P.).

"In film noir evil lurks around every corner, especially in the 1950s and early 1960s features. R. Barton Palmer and Homer B. Pettey have assembled a fine array of film scholars to offer their respect to a pioneer and fellow traveller of noir directors like Siodomak, Wilder and Dmytryk. Here Hitchcock has come out of the shadows of his role as 'Master of suspense.'"

• AcknowledgementsNotes on ContributorsIllustrationsChapter 1. Introduction: The Dark Side and Hitchcock's Early Noirs - R. Barton Palmer and Homer B. PetteyChapter 2. The 39 Steps (1935) and the Hard-Boiled Tradition - Homer B. PetteyChapter 3. Hitchcock's Gothic Noir (Rebecca [1940] and The Birds [1962]): Haunted and Haunting Women and Les Oiselles Fatales - Julie GrossmanChapter 4. The Americanization of Hitchcock: The Precariousness of Democratic Agency in War Noir - Alan WoolfolkChapter 5. Suspicion (1941): A Noir Woman's Film - Florence JacobowitzChapter 6. Unhitched: Joan Harrison's Noir Marriage Plots - Mark OsteenChapter 7. Noir Americana Aesthetics in Shadow of a Doubt (1943) - Elisabeth BronfenChapter 8. What's Love Got to Do with It? Reading Spellbound (1945) Through Marnie (1964) in the Time of #MeToo - Thomas LeitchChapter 9. Designing the Notorious Woman: Costume, Characterisation and Star Persona in the Fabrication of the ‘Femme Fatale’ - Helen HansonChapter 10. The In-Between of Stage and Screen: Rope (1948), Stage Fright (1950), and Dial M for Murder (1954) - Bruce IsaacsChapter 11. Upending Noir in Strangers on a Train (1951) - Lee Clark MitchellChapter 12. I Confess (1953): Hitchcock and the "Great Darkness" - Jim LeachChapter 13. Crossfire of Knowledge: Noir and Tropical Dualism - Murray PomeranceChapter 14. The Wrong Man (1956): Hitchcock's Contribution to the Noir "Film of Fact" Production Cycle - R. Barton PalmerChapter 15. The Midge Ending: Vertigo (1958) and The Role of the Third Woman - Jans B. WagerChapter 16. Territorial Imperative: the Dark Landscape of the Body in Psycho (1960) and Frenzy (1972) - Jennifer L. JenkinsChapter 17. The Weak Link in the Chain: Copenhagen and Cold War Noir in Hitchcock’s Torn Curtain (1966) and Topaz (1969) - Ian ScottChapter 18. Epilogue - Rear Window (1954) and North by Northwest (1959) - Homer B. Pettey and R. Barton PalmerChapter 19. BibliographyIndex

R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Homer B. Pettey is Professor Emeritus of Film and Comparative Literature at the University of Arizona. He serves as the founding and general editor for Global Film Directors (Rutgers U.P.), Global Film Studios (Edinburgh U.P.), and International Stars (Edinburgh U.P.).

"In film noir evil lurks around every corner, especially in the 1950s and early 1960s features. R. Barton Palmer and Homer B. Pettey have assembled a fine array of film scholars to offer their respect to a pioneer and fellow traveller of noir directors like Siodomak, Wilder and Dmytryk. Here Hitchcock has come out of the shadows of his role as 'Master of suspense.'"

• AcknowledgementsNotes on ContributorsIllustrationsChapter 1. Introduction: The Dark Side and Hitchcock's Early Noirs - R. Barton Palmer and Homer B. PetteyChapter 2. The 39 Steps (1935) and the Hard-Boiled Tradition - Homer B. PetteyChapter 3. Hitchcock's Gothic Noir (Rebecca [1940] and The Birds [1962]): Haunted and Haunting Women and Les Oiselles Fatales - Julie GrossmanChapter 4. The Americanization of Hitchcock: The Precariousness of Democratic Agency in War Noir - Alan WoolfolkChapter 5. Suspicion (1941): A Noir Woman's Film - Florence JacobowitzChapter 6. Unhitched: Joan Harrison's Noir Marriage Plots - Mark OsteenChapter 7. Noir Americana Aesthetics in Shadow of a Doubt (1943) - Elisabeth BronfenChapter 8. What's Love Got to Do with It? Reading Spellbound (1945) Through Marnie (1964) in the Time of #MeToo - Thomas LeitchChapter 9. Designing the Notorious Woman: Costume, Characterisation and Star Persona in the Fabrication of the ‘Femme Fatale’ - Helen HansonChapter 10. The In-Between of Stage and Screen: Rope (1948), Stage Fright (1950), and Dial M for Murder (1954) - Bruce IsaacsChapter 11. Upending Noir in Strangers on a Train (1951) - Lee Clark MitchellChapter 12. I Confess (1953): Hitchcock and the "Great Darkness" - Jim LeachChapter 13. Crossfire of Knowledge: Noir and Tropical Dualism - Murray PomeranceChapter 14. The Wrong Man (1956): Hitchcock's Contribution to the Noir "Film of Fact" Production Cycle - R. Barton PalmerChapter 15. The Midge Ending: Vertigo (1958) and The Role of the Third Woman - Jans B. WagerChapter 16. Territorial Imperative: the Dark Landscape of the Body in Psycho (1960) and Frenzy (1972) - Jennifer L. JenkinsChapter 17. The Weak Link in the Chain: Copenhagen and Cold War Noir in Hitchcock’s Torn Curtain (1966) and Topaz (1969) - Ian ScottChapter 18. Epilogue - Rear Window (1954) and North by Northwest (1959) - Homer B. Pettey and R. Barton PalmerChapter 19. BibliographyIndex

R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Homer B. Pettey is Professor Emeritus of Film and Comparative Literature at the University of Arizona. He serves as the founding and general editor for Global Film Directors (Rutgers U.P.), Global Film Studios (Edinburgh U.P.), and International Stars (Edinburgh U.P.).

"In film noir evil lurks around every corner, especially in the 1950s and early 1960s features. R. Barton Palmer and Homer B. Pettey have assembled a fine array of film scholars to offer their respect to a pioneer and fellow traveller of noir directors like Siodomak, Wilder and Dmytryk. Here Hitchcock has come out of the shadows of his role as 'Master of suspense.'"

• AcknowledgementsNotes on ContributorsIllustrationsChapter 1. Introduction: The Dark Side and Hitchcock's Early Noirs - R. Barton Palmer and Homer B. PetteyChapter 2. The 39 Steps (1935) and the Hard-Boiled Tradition - Homer B. PetteyChapter 3. Hitchcock's Gothic Noir (Rebecca [1940] and The Birds [1962]): Haunted and Haunting Women and Les Oiselles Fatales - Julie GrossmanChapter 4. The Americanization of Hitchcock: The Precariousness of Democratic Agency in War Noir - Alan WoolfolkChapter 5. Suspicion (1941): A Noir Woman's Film - Florence JacobowitzChapter 6. Unhitched: Joan Harrison's Noir Marriage Plots - Mark OsteenChapter 7. Noir Americana Aesthetics in Shadow of a Doubt (1943) - Elisabeth BronfenChapter 8. What's Love Got to Do with It? Reading Spellbound (1945) Through Marnie (1964) in the Time of #MeToo - Thomas LeitchChapter 9. Designing the Notorious Woman: Costume, Characterisation and Star Persona in the Fabrication of the ‘Femme Fatale’ - Helen HansonChapter 10. The In-Between of Stage and Screen: Rope (1948), Stage Fright (1950), and Dial M for Murder (1954) - Bruce IsaacsChapter 11. Upending Noir in Strangers on a Train (1951) - Lee Clark MitchellChapter 12. I Confess (1953): Hitchcock and the "Great Darkness" - Jim LeachChapter 13. Crossfire of Knowledge: Noir and Tropical Dualism - Murray PomeranceChapter 14. The Wrong Man (1956): Hitchcock's Contribution to the Noir "Film of Fact" Production Cycle - R. Barton PalmerChapter 15. The Midge Ending: Vertigo (1958) and The Role of the Third Woman - Jans B. WagerChapter 16. Territorial Imperative: the Dark Landscape of the Body in Psycho (1960) and Frenzy (1972) - Jennifer L. JenkinsChapter 17. The Weak Link in the Chain: Copenhagen and Cold War Noir in Hitchcock’s Torn Curtain (1966) and Topaz (1969) - Ian ScottChapter 18. Epilogue - Rear Window (1954) and North by Northwest (1959) - Homer B. Pettey and R. Barton PalmerChapter 19. BibliographyIndex