Abstract
This paper provides an analysis of four films directed by Alfred Hitchcock: "The Lady Vanishes", "Foreign Correspondent", "Notorious", and "North by Northwest". The analyses focus on a number of elements in the films, including the "MacGuffin," the uses of humor, camerawork and montage, relationship to social and historical events during the era in which they were produced, the man/woman-in-the-middle theme and others.

From the Paper
"In Alfred Hitchcock's "The Lady Vanishes", Hitchcock provides a film that revolves around the activities of spies and foreign agents in a film where nothing is as it first appears. The "MacGuffin" used by Hitchcock in this film revolves around music, a folk tune that conceals the secret clause of a peace treaty between two countries. The MacGuffin plays an important role in this film, because it represents peace and harmony in contrast to the violence and disharmony of espionage..."

Tags:spies, espionage, intelligence agencies, WWII, Nazis, nuclear weapons, national monuments, Britain, London, Hitchcock

Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.

From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."

Tags:film, analysis, rear, window, technique, suspense, vertigo, camera, angle

Abstract
This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".

From the Paper
"There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."

Tags:alfred, david, hitchcock, lynch, notorious, strangers, train

Abstract
This paper explores the love relationships in Hitchcock's films. It shows how Hitchcock used his films as a forum for illustrating the ongoing struggle for equality, recognition and acceptance between men and women. It investigates Hitchcock's ideas of a romantic relationship through the analysis of some of his films, namely: "Notorious", "Suspicion", "Spellbound", "Rear Window" and "North By Northwest".

From the Paper
"Hitchcock's motives for approaching love from such a stance could be numerous and interwoven. Certainly, his interpretations draw attention to the kinds of deep-seeded psychological blemishes that are bound to disrupt the continuity and quality of the subject's interpersonal relations. And the roots are left twisting in obscurity while the viewer works to sort out the morass of emotions that comprise the relationship in question."

Tags:intersexual, struggle, equality, recognition, acceptance, romantic, Notorious, Suspicion, Spellbound, Rear, Window, North, By, Northwest

Abstract
This paper reviews Alfred Hitchcock's film 'The Man Who Knew Too Much'. According to the paper, it was first released in the United Kingdom in December of 1934. It was not released to American audiences until March of the following year. It was filmed at Lime Grove Studios in London England and filming began after Hitchcock completed his direction of Waltzes From Vienna in 1933. Producers, Michael Balcon and Ivor Montagu had the script prepared before Hitchcock agreed to take on the direction of the film. The paper further discusses how Hitchcock was said to have been given free reign over the direction of the film, although he was also given a small budget to complete the task. The cast for the film was recommended from varying sources. This included Peter Lorre, who was a German actor presented to Hitchcock through Sidney Bernstein.

Tags:hitchcock, film, analysis

Abstract
This paper discusses and analyzes Alfred Hitchcock's spy thrillers, "Sabotage", "The Man Who Knew Too Much", "The Lady Vanishes" and "The 39 Steps", and identifies consistencies in the thriller genre.

From the Paper
"According to Martin Rubin, the label thriller describes a cinematic and literary genre which has certain identifiable characteristics and which represents a quantitative as well as qualitative concept. Rubin suggests that virtually all narrative films could be considered thrilling to some degree because they contain suspense and action and a sense of departure from the routine world into a realm that is more marvelous and exciting. However, to be a cinematic thriller, a film must meet other conditions, such as the doubling..."

Tags:Aflfred Hitchcock, thriller fims, spy films, The lady Vanishes, Sabotage, 39 Steps, The Nam Who knew Too Much

Abstract
This paper examines how Alfred Hitchcock's films deal with many psychological themes, including the idea of voyeurism. It reviews two of his films; "Rear Window" (USA, 1954, Alfred Hitchcock) and "Vertigo" (USA, 1958, Alfred Hitchcock) and discusses the occurrence of voyeurism within the narratives of both films. It also looks at the idea that certain aspects of the films can be said to be representations of the voyeuristic nature of cinema-going itself.

From the Paper
"I will now look at Vertigo and consider how the voyeurism and the gaze of the film can be seen as much more sexual than that of Rear Window. It has been said that Rear Window seems like a comical "test run" for the more obsessive and frightening nature of Vertigo, and that Rear Window, Vertigo and Psycho form a sort of trilogy of films that contained the them of voyeurism. Vertigo was not as popular on its original release as Rear Window. This is probably due to the fact that there is a lot more complexity and psychology in the story, or because James Stuart seemed too old to play the romantically obsessed man. The story is about Scotty (James Stewart), an acrophobic detective who has been hired by a friend to trail his beautiful and troubled wife, Madeline. His quest at first is an innocent one, but he soon becomes Madeline's obsessive stalker. "

Tags:auteur, jeff, scotty

Abstract
In this article, the writer analyzes Hitchcock's portayal of women in his films. The writer first notes that regardless of the fact that Hitchcock portrayed many women as possessors of negative characteristics, feeble, and promiscuous, his portrayal of women, based on their careers and sexuality, is remarkably progressive for the age in which he created films. The writer then notes that, although Hitchcock's two most prominent career women are 'Psycho's' Marion and 'Rear Window's' Lisa Fremont, the two are implied to be relatively successful and certainly capable of greater career challenges. The writer maintains that although many claim that Alfred Hitchcock's films are misogynistic, the same evidence can be used to suggest Hitchcock's progressive trends. The writer concludes that the negative portrayals of Hitchcock's women, therefore, can be implied as society's faults, while the progressive attitude toward women suggests their capabilities.

From the Paper
"Coupled with the stereotype of sadomasochism is that of naivete. Throughout his films, Hitchcock manages to stun audiences with images of murder levied on naive victims. Brilliantly, this theme of naivete allows audience members to become involved in the drama of the murder, caring intimately and reacting strongly when the naive character or one close to him or her is killed. Although this scenario applies to a variety of characters, such as Strangers on a Train's Guy Haines, it is most brilliantly portrayed in Psycho, as naive Marion thoroughly enjoys her shower, unaware that her murderer lurks just outside the plastic curtain. The shower scene, reproduced so many times in both effigy and parody, allows viewers to glimpse the careless Marion lifting her arms, shutting her eyes, and opening and shutting her mouth in obvious enjoyment and relaxation. The audience can imagine and almost feel the hot water scalding on a blissful and naive Marion until Norman Bates throws open the curtain and thrusts a knife into the unsuspecting young woman. Audiences glimpse the anatomy of a smooth and attractive feminine stomach as Marion feebly attempts to fight her attacker. Finally, the scene ends with Marion's head, in all its feminine glory, drooping awkwardly over the bathtub."

Tags:character, frighten, shower, scene, Psycho

Abstract
This paper examines how Alfred Hitchcock's films often showed the influence of national film movements such as German Expressionism, Soviet Expressive Realism and the British Realist Documentary. It looks at how "The Lodger" (1926), and "Sabotage" (1936) provide examples of these movements from the first three periods of Hitchcock's work. In these films, Hitchcock showed his powerful mastery of the forms, and often moved them to new and deeply disturbing and moving levels. It is through his combination of techniques and themes taken from these often complex and difficult film movements that Hitchcock establishes himself as one of the most creative and influential directors of our time.

From the Paper
"During the 1920s, German film gave rise to a type of cinema that mirrored many of the conventions and styles of the expressionism art movement of the same time. This German movement "sought to express - often critically - the very essence of post-war life, its moods and concerns" (Mogg). The techniques that were used within the expressionism art movement often came from melodrama and the works of author Charles Dickens, such as Great Expectations, Oliver Twist, and A Christmas Carol. The techniques of the expressionism movement included an emphasis on irrational behavior that were often expressed through the actions of mobs and crowds (Mogg)."

Tags:lodger, sabotage, expressionism

Abstract
A comparison and contrast of the writing styles of Alfred Hitchcock and Stephen King. It looks at how both are similar in presenting the everyday life and in terms of building suspense, sexual tension and the macabre. It also discusses Hitchcock's collaboration with screenwriters on the scripts for the films and King's prolific output as a novelist who is more graphic than Hitchcock.

From the Paper
"The writing styles of Alfred Hitchcock and Stephen King are similar in a number of ways. Both writers exhibit a writing style in which we find suspense, sexual tension, the macabre and inhibited or uninhibited character ..."

Tags:suspense, tension, macabre, characterization, everyman, supernatural, psyche, fear