Robert E. Kapsis is Professor Emeritus of Sociology and Film Studies at Queens College and the Graduate Center of the City University of New York. He is author of Hitchcock: The Making of a Reputation (1992); the e-book version was released in 2022. Shortly after its publication, Kapsis developed “Multimedia Hitchcock,” an innovative, interactive software project. Originally conceived as a pedagogical tool for his college courses on Hitchcock, the project grew into an interactive kiosk exhibited at MoMA, the Academy of Motion Picture Arts and Sciences, and at other museums and nonprofit institutions celebrating the Hitchcock Centennial in 1999. Kapsis is also editor of Woody Allen: Interviews, Revised and Updated Edition (2016), Jonathan Demme: Interviews, Charles Burnett: Interviews, and Conversations with Steve Martin; and coeditor (with Kathie Coblentz)of Clint Eastwood: Interviews (2006). He is currently working on a book on Hitchcock’s posthumous reputation, to be published by Bloomsbury.Kapsis’s work on Hitchcock and “the Hitchcockian” has been featured in many publications and venues, including the New York Times, Oxford University Press’s American National Biography, American Film, The Sociological Quarterly, Hitchcock Annual, Cineaste, and the Village Voice. It has also influenced the creation and development of documentaries about Hitchcock for the BBC, PBS’s American Masters series, Universal’s Dial H for Hitchcock: The Genius Behind the Showman, and promotional materials for the release of a Hitchcock stamp from the United States Postal Service.

In addition to wide-ranging reassessments of Hitchcock’s key films, this innovative collection offers game-changing analyses of his TV shows and ground-breaking chapters dealing with his impact outside the English-speaking world. It is a windfall for cinema scholars and movie buffs alike.

• List of ContributorsAcknowledgementsIntroduction by Robert E. KapsisPART 1: ENDURING TRIUMPHS1. The Lodger (1926): The First True Hitchcock FilmHenry K. Miller 2. The Two Blackmails From 1929: A Reputation Crosses the Sound BarrierBryony Dixon3. “No Manners at All and Always Seeing Things”: The Return of Hitchcock’s Vanished Englishwomen in The 39 Steps (1935) and The Lady Vanishes (1938)J.E. Smyth4. Rebecca’s Gendered Reception: 1941 to the PresentPatricia White5. Shadow of a Doubt (1943) and Notorious (1946): Two Hollywood – and Definitively American – MasterworksThomas Schatz6. Re-Viewing Rear Window (1954)Janet Staiger7. North by Northwest (1959): Nothing But EntertainmentThomas LeitchPART 2: CHANGING RECEPTIONS8. “A director who can impose his own personality on his pictures”:British critics and Sabotage (1936) James Chapman9. The Man Who Knew Too Much (1956): as a Critical Lens on American CulturePaula Marantz Cohen10. “She Isn’t Quite Herself Today.” Psycho (1960): Before and After Queer TheoryDavid Greven11. #MeToo and Angry Nature: The Changing Tides of Approaches to The Birds (1963)Lucy Bolton12. Vertigo (1958) and Marnie (1964): Two Reception Histories on SteroidsRobert E. Kapsis13. Rope (1948): A Late BloomerNeil BadmingtonPART 3: FILMS ON AN UPWARDS TRAJECTORY14. Downhill (1927)Henry K. Miller 15. Under Capricorn (1948) Richard Allen16. Trouble with Harry (1955)Sidney Gottlieb17. Mr. and Mrs. Smith (1941)Elizabeth Bullock18. The Wrong Man (1956)Jason P. Isralowitz and Robert E. Kapsis PART 4: FOUR RECEPTION ANOMALIES 19. Hitchcock and His Critics: The Fall and Rise of Strangers on a Train (1951)Robert E. Kapsis20. Frenzy (1972): “Dark, Nasty, Full of Bile” …and a Masterpiece?Tania Modleski21. ‘One of the most uneven films in the history of cinema’:Topaz (1969)James Chapman22. What the Two Versions of The Man Who Knew Too Much Reveal About Film Criticism in the United States and BritainRobert E. KapsisPART 5: HITCHCOCK’S TELEVISION SERIES23. The Final Frontier: Hitchcock’s Television Work Thomas Leitch 24. Towards a New Appreciation of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and Shamley ProductionsChristina Lane25. Life after Death: Preserving and Promoting Hitchcock’s TV PersonaRobert E. Kapsis 26. Travels in Hitchcock’s MultiverseJoel GunzPART 6: GLOBAL HITCHCOCK: BEYOND THE US AND THE UK27. Hitchcock and L’Écran français: At the Roots of the Politique des auteurs?Tifenn Brisset28. Hitchcock in Germany—A Germanic Hitchcock?: Transnational Genre, Art Cinema, and Auteurism in 1970s/1980s Filmkritik and in the Work of Harun Farocki and Christian PetzoldJaimey Fisher 29. Alfred Hitchcock and Italian Film Criticism: “A Good Second-Rate Director”Francesca Cantore and Andrea Minuz 30. Alfred Hitchcock’s Cinema in the USSR and Post-Soviet Russia: Loud AbsenceSergei Kapterev 31. Tracing Hitchcock in South Korea: From I Confess to Decision to LeaveHye Seung Chung 32. Hitchcock in Japan: Invisibility and HypervisibilityDaisuke Miyao 33. Introducing Hitchcock to Communist China: Two Decades of Reception and PopularizationSun Yi 34. Hitchcock in SpainDona M. Kercher 35. Hitchcock’s Audiences in Mexico: From Movie Theaters to TV Ana Rosas Mantecón 36. Hitchcock in Argentina: Some Preliminary FindingsDona M. Kercher Coda A A “Signature Pattern”: The Importance of Music in Hitchcock’s FilmsJack Sullivan Coda B Deserter or Honored Exile? Views of Hitchcock from Wartime BritainCharles Barr Index

Robert E. Kapsis is Professor Emeritus of Sociology and Film Studies at Queens College and the Graduate Center of the City University of New York. He is author of Hitchcock: The Making of a Reputation (1992); the e-book version was released in 2022. Shortly after its publication, Kapsis developed “Multimedia Hitchcock,” an innovative, interactive software project. Originally conceived as a pedagogical tool for his college courses on Hitchcock, the project grew into an interactive kiosk exhibited at MoMA, the Academy of Motion Picture Arts and Sciences, and at other museums and nonprofit institutions celebrating the Hitchcock Centennial in 1999. Kapsis is also editor of Woody Allen: Interviews, Revised and Updated Edition (2016), Jonathan Demme: Interviews, Charles Burnett: Interviews, and Conversations with Steve Martin; and coeditor (with Kathie Coblentz)of Clint Eastwood: Interviews (2006). He is currently working on a book on Hitchcock’s posthumous reputation, to be published by Bloomsbury.Kapsis’s work on Hitchcock and “the Hitchcockian” has been featured in many publications and venues, including the New York Times, Oxford University Press’s American National Biography, American Film, The Sociological Quarterly, Hitchcock Annual, Cineaste, and the Village Voice. It has also influenced the creation and development of documentaries about Hitchcock for the BBC, PBS’s American Masters series, Universal’s Dial H for Hitchcock: The Genius Behind the Showman, and promotional materials for the release of a Hitchcock stamp from the United States Postal Service.

In addition to wide-ranging reassessments of Hitchcock’s key films, this innovative collection offers game-changing analyses of his TV shows and ground-breaking chapters dealing with his impact outside the English-speaking world. It is a windfall for cinema scholars and movie buffs alike.

• List of ContributorsAcknowledgementsIntroduction by Robert E. KapsisPART 1: ENDURING TRIUMPHS1. The Lodger (1926): The First True Hitchcock FilmHenry K. Miller 2. The Two Blackmails From 1929: A Reputation Crosses the Sound BarrierBryony Dixon3. “No Manners at All and Always Seeing Things”: The Return of Hitchcock’s Vanished Englishwomen in The 39 Steps (1935) and The Lady Vanishes (1938)J.E. Smyth4. Rebecca’s Gendered Reception: 1941 to the PresentPatricia White5. Shadow of a Doubt (1943) and Notorious (1946): Two Hollywood – and Definitively American – MasterworksThomas Schatz6. Re-Viewing Rear Window (1954)Janet Staiger7. North by Northwest (1959): Nothing But EntertainmentThomas LeitchPART 2: CHANGING RECEPTIONS8. “A director who can impose his own personality on his pictures”:British critics and Sabotage (1936) James Chapman9. The Man Who Knew Too Much (1956): as a Critical Lens on American CulturePaula Marantz Cohen10. “She Isn’t Quite Herself Today.” Psycho (1960): Before and After Queer TheoryDavid Greven11. #MeToo and Angry Nature: The Changing Tides of Approaches to The Birds (1963)Lucy Bolton12. Vertigo (1958) and Marnie (1964): Two Reception Histories on SteroidsRobert E. Kapsis13. Rope (1948): A Late BloomerNeil BadmingtonPART 3: FILMS ON AN UPWARDS TRAJECTORY14. Downhill (1927)Henry K. Miller 15. Under Capricorn (1948) Richard Allen16. Trouble with Harry (1955)Sidney Gottlieb17. Mr. and Mrs. Smith (1941)Elizabeth Bullock18. The Wrong Man (1956)Jason P. Isralowitz and Robert E. Kapsis PART 4: FOUR RECEPTION ANOMALIES 19. Hitchcock and His Critics: The Fall and Rise of Strangers on a Train (1951)Robert E. Kapsis20. Frenzy (1972): “Dark, Nasty, Full of Bile” …and a Masterpiece?Tania Modleski21. ‘One of the most uneven films in the history of cinema’:Topaz (1969)James Chapman22. What the Two Versions of The Man Who Knew Too Much Reveal About Film Criticism in the United States and BritainRobert E. KapsisPART 5: HITCHCOCK’S TELEVISION SERIES23. The Final Frontier: Hitchcock’s Television Work Thomas Leitch 24. Towards a New Appreciation of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and Shamley ProductionsChristina Lane25. Life after Death: Preserving and Promoting Hitchcock’s TV PersonaRobert E. Kapsis 26. Travels in Hitchcock’s MultiverseJoel GunzPART 6: GLOBAL HITCHCOCK: BEYOND THE US AND THE UK27. Hitchcock and L’Écran français: At the Roots of the Politique des auteurs?Tifenn Brisset28. Hitchcock in Germany—A Germanic Hitchcock?: Transnational Genre, Art Cinema, and Auteurism in 1970s/1980s Filmkritik and in the Work of Harun Farocki and Christian PetzoldJaimey Fisher 29. Alfred Hitchcock and Italian Film Criticism: “A Good Second-Rate Director”Francesca Cantore and Andrea Minuz 30. Alfred Hitchcock’s Cinema in the USSR and Post-Soviet Russia: Loud AbsenceSergei Kapterev 31. Tracing Hitchcock in South Korea: From I Confess to Decision to LeaveHye Seung Chung 32. Hitchcock in Japan: Invisibility and HypervisibilityDaisuke Miyao 33. Introducing Hitchcock to Communist China: Two Decades of Reception and PopularizationSun Yi 34. Hitchcock in SpainDona M. Kercher 35. Hitchcock’s Audiences in Mexico: From Movie Theaters to TV Ana Rosas Mantecón 36. Hitchcock in Argentina: Some Preliminary FindingsDona M. Kercher Coda A A “Signature Pattern”: The Importance of Music in Hitchcock’s FilmsJack Sullivan Coda B Deserter or Honored Exile? Views of Hitchcock from Wartime BritainCharles Barr Index

Robert E. Kapsis is Professor Emeritus of Sociology and Film Studies at Queens College and the Graduate Center of the City University of New York. He is author of Hitchcock: The Making of a Reputation (1992); the e-book version was released in 2022. Shortly after its publication, Kapsis developed “Multimedia Hitchcock,” an innovative, interactive software project. Originally conceived as a pedagogical tool for his college courses on Hitchcock, the project grew into an interactive kiosk exhibited at MoMA, the Academy of Motion Picture Arts and Sciences, and at other museums and nonprofit institutions celebrating the Hitchcock Centennial in 1999. Kapsis is also editor of Woody Allen: Interviews, Revised and Updated Edition (2016), Jonathan Demme: Interviews, Charles Burnett: Interviews, and Conversations with Steve Martin; and coeditor (with Kathie Coblentz)of Clint Eastwood: Interviews (2006). He is currently working on a book on Hitchcock’s posthumous reputation, to be published by Bloomsbury.Kapsis’s work on Hitchcock and “the Hitchcockian” has been featured in many publications and venues, including the New York Times, Oxford University Press’s American National Biography, American Film, The Sociological Quarterly, Hitchcock Annual, Cineaste, and the Village Voice. It has also influenced the creation and development of documentaries about Hitchcock for the BBC, PBS’s American Masters series, Universal’s Dial H for Hitchcock: The Genius Behind the Showman, and promotional materials for the release of a Hitchcock stamp from the United States Postal Service.

In addition to wide-ranging reassessments of Hitchcock’s key films, this innovative collection offers game-changing analyses of his TV shows and ground-breaking chapters dealing with his impact outside the English-speaking world. It is a windfall for cinema scholars and movie buffs alike.

• List of ContributorsAcknowledgementsIntroduction by Robert E. KapsisPART 1: ENDURING TRIUMPHS1. The Lodger (1926): The First True Hitchcock FilmHenry K. Miller 2. The Two Blackmails From 1929: A Reputation Crosses the Sound BarrierBryony Dixon3. “No Manners at All and Always Seeing Things”: The Return of Hitchcock’s Vanished Englishwomen in The 39 Steps (1935) and The Lady Vanishes (1938)J.E. Smyth4. Rebecca’s Gendered Reception: 1941 to the PresentPatricia White5. Shadow of a Doubt (1943) and Notorious (1946): Two Hollywood – and Definitively American – MasterworksThomas Schatz6. Re-Viewing Rear Window (1954)Janet Staiger7. North by Northwest (1959): Nothing But EntertainmentThomas LeitchPART 2: CHANGING RECEPTIONS8. “A director who can impose his own personality on his pictures”:British critics and Sabotage (1936) James Chapman9. The Man Who Knew Too Much (1956): as a Critical Lens on American CulturePaula Marantz Cohen10. “She Isn’t Quite Herself Today.” Psycho (1960): Before and After Queer TheoryDavid Greven11. #MeToo and Angry Nature: The Changing Tides of Approaches to The Birds (1963)Lucy Bolton12. Vertigo (1958) and Marnie (1964): Two Reception Histories on SteroidsRobert E. Kapsis13. Rope (1948): A Late BloomerNeil BadmingtonPART 3: FILMS ON AN UPWARDS TRAJECTORY14. Downhill (1927)Henry K. Miller 15. Under Capricorn (1948) Richard Allen16. Trouble with Harry (1955)Sidney Gottlieb17. Mr. and Mrs. Smith (1941)Elizabeth Bullock18. The Wrong Man (1956)Jason P. Isralowitz and Robert E. Kapsis PART 4: FOUR RECEPTION ANOMALIES 19. Hitchcock and His Critics: The Fall and Rise of Strangers on a Train (1951)Robert E. Kapsis20. Frenzy (1972): “Dark, Nasty, Full of Bile” …and a Masterpiece?Tania Modleski21. ‘One of the most uneven films in the history of cinema’:Topaz (1969)James Chapman22. What the Two Versions of The Man Who Knew Too Much Reveal About Film Criticism in the United States and BritainRobert E. KapsisPART 5: HITCHCOCK’S TELEVISION SERIES23. The Final Frontier: Hitchcock’s Television Work Thomas Leitch 24. Towards a New Appreciation of Alfred Hitchcock Presents, The Alfred Hitchcock Hour, and Shamley ProductionsChristina Lane25. Life after Death: Preserving and Promoting Hitchcock’s TV PersonaRobert E. Kapsis 26. Travels in Hitchcock’s MultiverseJoel GunzPART 6: GLOBAL HITCHCOCK: BEYOND THE US AND THE UK27. Hitchcock and L’Écran français: At the Roots of the Politique des auteurs?Tifenn Brisset28. Hitchcock in Germany—A Germanic Hitchcock?: Transnational Genre, Art Cinema, and Auteurism in 1970s/1980s Filmkritik and in the Work of Harun Farocki and Christian PetzoldJaimey Fisher 29. Alfred Hitchcock and Italian Film Criticism: “A Good Second-Rate Director”Francesca Cantore and Andrea Minuz 30. Alfred Hitchcock’s Cinema in the USSR and Post-Soviet Russia: Loud AbsenceSergei Kapterev 31. Tracing Hitchcock in South Korea: From I Confess to Decision to LeaveHye Seung Chung 32. Hitchcock in Japan: Invisibility and HypervisibilityDaisuke Miyao 33. Introducing Hitchcock to Communist China: Two Decades of Reception and PopularizationSun Yi 34. Hitchcock in SpainDona M. Kercher 35. Hitchcock’s Audiences in Mexico: From Movie Theaters to TV Ana Rosas Mantecón 36. Hitchcock in Argentina: Some Preliminary FindingsDona M. Kercher Coda A A “Signature Pattern”: The Importance of Music in Hitchcock’s FilmsJack Sullivan Coda B Deserter or Honored Exile? Views of Hitchcock from Wartime BritainCharles Barr Index