Alfred Hitchcock

Alfred Hitchcock (1963)

Alfred Joseph Hitchcock KBE (* 13. August 1899 in London; † 29. April 1980 in Los Angeles) was a film director and a film producer of British origin. To 20. April 1955 took the US-American nationality to Hitchcock on.

With a complete work from over 50 features, a TV-series, which carried its name, and its talent to the self marketing it brought Hitchcock to large international fame.

Although it itself in its career in different category tried and mostits films with humor, connects one is peppered with its name mainly murder, tension and Nervenkitzel. That brought in the unofficial title „of the master of the Suspense for it “. In many of its films Hitchcock in always new variants told historya unbedarften man, who is involved into mörderische plots.

Alfred Hitchcock in Wachs bei Madame Tussaud's
Alfred Hitchcock in wax with madame Tussaud's

table of contents



Alfred Hitchcock are to 13. August 1899 in Leytonstone, London, as a youngest son of the costermonger William Hitchcock and its Mrs. Emma Jane Hitchcock born. By the large disparity in age of its brothers and sisters, throughits Roman-catholic education in a Protestant coined/shaped country and not least by its exterior, a small, thick child, he has a lonely childhood. He spends the school time in a Jesuiteninternat, which is feared for its strict education. Hitchcock fleesinto novels, visits stage performances and goes into the cinema.

With 16 it accepts a place as technical employees of a Telegrafengesellschaft, which bores it however in such a manner that he trains himself further in evening classes and learns history of art. He begins to draw andalso promptly into the publicity department one shifts.

When he hears of the reestablishment of a Studios of the American Produktionsgesellschaft Paramount Famous Players Lasky on English soil, he applies with illustrations for a planned film. The film is never turned, Hitchcockreceives however a job as a draughtsman for Zwischentitel of the still mute films. He learns avid all aspects of the film making and its commitment also soon with a Regieassistenz is recompenced.

beginnings and silent movies (1925-1928)

fired as a directorbecomes, one asks Hitchcock to turn the missing scenes of a begun film. The result can to be seen be able and Michael Balcon, an English producer, who had rented the Studio, promotes the young Hitchcock. Hitchcock works from now on as CO directorand the Cutterin Alma Reville places a co-operation, which will hold up to its death as its female assistant in: The two marry 1926. Alma plays a very important role in Hitchcocks work, there it with it co-operates closely andit is involved in many creative decision-making processes.

1925 throw Balcon it in the cold water: Hitchcock is sent to turning work into the Ufa - Studios to Munich. There it turns its first independent silent movie, Irrgarten of the passion. Although the filmby the rental business company and it is rejected not for demonstration comes for the time being, to Hitchcock in Balcon a promoter did not find. This trusts him on the direction for two further films (the mountain eagle and the tenant). Both become 1926turned, come out however in short order, together with the Irrgarten, one year later. Irrgarten of the passion and above all the tenant are at criticism and public much like. In the tenants, dark crime film-alga-laminated, visually strongly of Expressionism in styles the Murnaus (which it was allowed to look in Munich over the shoulder) affected, already found its topic to Hitchcock.

By success it made itself in England in shortest time a name. The recent British film industry, strongly on itmindfully to stand out against the American it is gladly ready to celebrate it as an arising direction star.

1928 are born its daughter Patricia, which will emerge in two of its films in small Nebenrollen. Between 1927 and 1928 Hitchcock turns in close co-operationwith Alma of six further quite solid films, which however certain the something, which is missing in the tenant promised „own handwriting “. That should change with extortion (1929), for the first British Tonfilm.

Tonfilme in England (1929-1939)

many directors can with the arising of the Tonfilms nothing begin, regard it as the end of the artistic film. Not so Hitchcock: The connection of the two media arisen again wakes its play-rubbed and it recognizes early the potential and the possibilities, those the clay/toneoffers to the film. Thus it already uses music in its first Tonfilmen, although subsequent working on is clay-purely purely technically not possible for that. An orchestra is hidden behind the window blinds, in order to under-paint the appropriate places musical. The silent movie actressTo Anny Ondra it lets its dialogues in extortion play even mutely and to synchronize it beside the camera of a spokeswoman simultaneously.

Extortion was turned originally as silent movie, one permits Hitchcock however to turn again a Filmrolle with clay/tone material. Thisinspire the producers in such a manner that it is to turn the whole film again with clay/tone. „Extortion “becomes an enormous success, Hitchcocks name is in all mouth. It is however contractually still bound, cannot select itself its materials andmust therefore rising films turn, on which it does not have desire.

Hitchcock recognizes that the way accompanies into independence with the marketing of its name. Thus it adjusts a publicity man and creates „the Hitchcock Baker Prod. “, a society, exclusiveis responsible to bring the message value of the producer and director Hitchcock to the newspapers.

Hitchcock must abmühen itself 1930 with two further films ordered by the Produktionsgesellschaft, to it finally with murder - Sir John intervenes!again itsTopic finds and accordingly shines. Like many of the early Tonfilme also „murder was turned “in different languages. Hitchcock traveled in addition to Berlin and produced the film under the title Mary a second time - with German actors.

Starting from 1934 worksit again with the producer Michael Balcon together and it develop a few successful and films, like the man, important for the later film vocabulary Hitchcocks, for the too much knew or the 39 stages. In both films we meet firstTimes on typical topics and elements of the director: Feeler gauges, MacGuffins, handcuffs and to injustice condemned men, who must prove their innocence on the escape by the half country.

Meanwhile Hitchcocks call rang out also in America. On a journeyinto the USA it signs 1938 with David O. Selznick, which producers of of hoist blows, a contract.

Hollywood, David O. Selznick and the war (1939-1947)

from the Trailer for the foreign correspondent

1939 move Hitchcockwith Alma and Patricia to America out. Its first American film, Rebecca, has very much an English face. Turned after the book of the Englishwoman Daphne you, plays Maurier the Melodram in an English rule house in outgoing 19. Century.It focused on the psychology of the figures and gets along without large suspense-creating moments. That is a rather atypical Hitchcock Setting, and still to it co-operation with the Produzentenmogul David O emerges. Selznick as extremely difficult. Because Selznick is a Kontrollfreak,he bombards its directors with sidelong „notes “and interferes strongly into the creative work. The differences do not seem to harm the film however:Rebecca wins 1940 „the Academy Award “and Selznick may the OSCAR for the best filmtake home.

Although Hitchcock still eight years with David O. Selznick under contract is, turns the two altogether only three films together. Hitchcock is lent for large sums to other producers. Thus develops and. A. Suspicion (1941), firstof many films, which Hitchcock with Cary Grant turns, and in the shade of the doubt (1943), its first American masterpiece, which it often called its favourite film.

Hitchcock, for that the cinema „no piece of the life, but a piece of the cake “was, it avoided time of its life to deliver political statements let alone, to transport these in its films. The Second World War and the reproaches of the Drückebergerei furious in Europe, which it had be able to be pleased from former British colleagues, went howevernot without trace at it past. Thus it appealed in the foreign correspondent (1940) to the still neutral America to occur the war. Also the life raft (1943), a film after a history of John Steinbeck, which plays exclusively on a life raft,a clear political message has: Only together have the zusammengewürfelte, ideologically zerstrittene heap English and more American shipwrecked one a chance to proceed against the determined Nazi.

On behalf the British information Ministry Hitchcock turns 1944 two Kurzfilme (property journey and Aventure Malgache), with which of France are to be supported efforts of war. 1945 help Hitchcock as dramaturgischer advisors with a documentary film over the concentration camps of the Nazis (The MEMORY OF the Camps).

Hitchcocks initial years in Hollywood are characterized by restrictions of its creativity. Itdevelop unusual works such as notorious (1946) with Ingrid Bergman and Cary Grant - the first film, the David O. Selznick Hitchcock also to produce leaves. But it turns also experiments as I fights for you (1945), a film over psychoanalysis,its dream sequences converted by Salvador Dalí are.

The 40's - Years are „the golden age “of the cinema, many millions humans flow weekly into the cinemas. Also most films Hitchcocks are successful, make it and their producers rich and Hitchcockalso in America admits. Now it applies to recover complete control of the films again but in addition it must become its own gentleman.

production and direction: Alfred Hitchcock (1948-1963)

1948 runs the contract with David O. Selznickout and Hitchcock creates the production company transatlantic Pictures with Sydney amber. In their first color film, Cocktail for a corpse (1948), a chamber play, which plays only in an area, experiments Hitchcock with very long attitudes. The film remains howeveronly formally interesting, and also the follow-up work slave of the heart (1949) does not bring desired success. Hitchcock and amber must separate again. Hitchcock stands as a producer now completely on own feet, can however an extremely lucrative Deal with Warnerlock. Develops the red Lola (1950) with Marlene Dietrich, who fulfills expectations only insufficiently. Only co-operation with Raymond Chandler with the Patricia Highsmith - filming of the foreigner in the course (1951) furnishes success desired.

After I beichte(1951) three successful films with Grace Kelly follow: originally the chamber play with call murder, taken up in the 3-D - procedures , (1954); The window to the yard (1954), a film with James Stewart (one its male favourite star), and finally over the roofs ofNice (1955). In order to against-add to the Glamour of the last film somewhat, Hitchcock turns in the same year still another unusually small film, the black comedy always annoyance with Harry with Shirley MacLaine and John Forsythe.

The cinema is in its firstCrisis, the television holds introduction into the living rooms and runs off for the large canvas rank. With pageants as the 3-D-Verfahren are again spectators to be won, generally become productions larger and the picture more broadly.

Hitchcock starts 1955 the TV serial Alfred Hitchcock Presents. It functions as producer and a director of 17 that altogether 350 consequences. To many consequences he transfers the moderator role and welcomes the public at the beginning of the consequences. These appearances increase its anyway already large popularityand make it a national celebrity.

In the same year it receives the American nationality and begins with Doris Day and James Stewart the turning work to the man, who knew too much (1956), a Remake of its English film of the same name from thatYears 1934.

With the Nouvelle Vague a new way of films develops to make in France. The films are gotten from Studios and turned on the road. The rigid, conventional picture language becomes by the employment of the hand camera andexperimental cuts broken, one looks for for personal, for realistic topics. Hitchcock, that of the representatives of this direction, Claude Chabrol and François Truffaut, when master is celebrated, zollt this movement with his film the wrong man (1956) respect. In thatin black-and-white film held with Henry Fonda in the main role at authentic scenes (times again) the true history of a man is told, who is condemned to injustice.

1958 turn Hitchcock Vertigo - from the realm of the dead ones (1958), one muchslow film with auto+biographic parallels. For many critics this is however a little attractive its best work, for a large public. The film disappears for many years completely from the scene. Only in the 80's - years he is rediscovered and restored.

Vertigo forms at the beginning of an extremely successful work phase. Hitchcock concerned at the high point of its career and turns three contentwise very different films, which are above average successful and from unusual quality.Invisible third (1959) is the sum and coronation/culminationthe classical Hitchcock topic, with which innocently a condemning fights for its Reputation. With Psycho (1960) Hitchcock the horror B-Movies tribute arising in autocinemas zollt and turns an unusually brutal, black-and-white Low budget film, whose „showering scene “to its most well-known and usually-analyzedBelongs to scenes. The cinematic frequently quoted measurer attack turned cameraman John L. Russell however to a large extent exactly the same, as the Artdirector Saul bass had drawn it. With the birds (1963) it finally created a apokalyptisches, pessimistic, rather abstract work.

thatLate work (1964-1980)

Hitchcock had into the 60's a very high creative output. A film per year was usual, in some years turned it even two films. Meanwhile he seemed somewhat tiredly become, at least however had he difficulties, newMaterials to find, inspired him. With its next films:Marnie (1964), which it with criticism and public encountered torn curtain (1966) and Topas (1969) divided echo and could not attach to previous successes. Only years after becomethe qualities of these work recognized: the artificialness of „Marnie “, the nearly already surrealistische design of the GDR and that deceitfully soft light in „the torn up curtain “and the precision and the Klaustrophobie in „Topas “.

Between 1969 and 1971 he became alsovarious prices and honors honoured, and. A. it was struck in Paris to the “knight of the Ehrenlegion”, and it kept the Globe Award golden.

1971 it returned for the turning work to Frenzy (1972) to England. Frenzy was last itsSuccess. Drawn of heavy Arthritis and appropriate medication, he turned his last masterpiece with family grave (1976), with which he broke with one of his most important principles: Hitchcock permitted it to the actors to make own suggestions for their texts and its playto improvise and. This becomes particularly visible at the conclusion of the film, when a Darstellerin looks and zwinkert into the camera. Hitchcock decided to keep this attitude on final average.

Until 1978 Hitchcock still works on its unfinished project remained The Short Night. Due to increasing health problems - beside Arthritis also still heart problems and alcoholism - it sees itself forced 1979 to close its office on the area that of universal Studios. In the March of the same yearly it becomes of the American filmInstitutes for its life's work honoured. At the 3. January 1980 is presented Hitchcock its collection to the Knight COMM other to OF the order OF the British Empire, which equals a knight impact.

To 29. April 1980 dies Hitchcock in its house in Los Angeles.

topics and specialities

Suspense as brand name Hitchcocks

Alfred Hitchcock was above all a large picture storyteller. Its films captivate particularly by their Visualität. The dramatic development of the characters, but the internal development of the figures does not stand inForeground. Hitchcock placed the form into the foreground and knitted around this form, usually tension-loaded history, in which Hitchcock strains the nerves of the spectators then under admixture of Suspense. By Supense is to be understood however something else as „tension “.Differently than films, which work on the moments of the surprise, a secret is told to the spectator, which the hero does not know. From this information projection/lead the Suspense results, because the spectator has a temperature now around the hero and would like to help him.

Onepreferential method around the action to advance or Suspense produce was for Hitchcock of the MacGuffin: a detail, the curiosity wakes and the figures motivates themselves on the journey to make, however for the development of the characters andthe spectator is completely insignificant. In notorious Ingrid Bergman of Cary Grant on it is set, in the house of the Nazikollaborateure herumzuschnüffeln. In the cellar she finds finally to uranium ore, filled up in Weinflaschen - a typical MacGuffin. The heroes look for it, the find remainhowever without great importance. It was only pretext for the search, and the search was actual history.


Hitchcocks of films are based partially on Kurzgeschichten, novels and drafts of authors. Often it also came alonga rough idea to an author, this prepared, provided with it an edited version, in which the action was outlined, and left it then with elaboration and the dialogues alone.

Hitchcock maintained itself the myth of the director, thatwhile the turning work bored, because the film was long posed in its head. Admits is its marked Storyboards, in which each attitude of the film appeared. However the knappe actually permitted rarely such to schedule of most productionsProceeding and Hitchcock had, like all other directors, improvise and given to the circumstances to adapt.

Its large talent to know exactly with which pictures, with which attitude size, in who camera angle, in which rhythm a figure, a scene or an emotionbest to express is, led however to an economic function, with which it the Hollywoodproduzenten of the 40's - years much annoyed. At this time it was usual that as many scenes as possible from again and again similar attitude sizes to a large extent up toScene end were revved up. This made possible the producer in the cut area multiplicity of cut variations. By Hitchcocks visual function, with which it only turned, which it seemed necessary, had it more control of the film, and a producer such as z. B.DavidO. Selznick could not umschneiden it as desired.

fame and honour

already at the beginning of its career, when it celebrated in England with the first silent movies successes, were it consciously, „that the name of the director clearly in consciousnessthe public to stand should “. More importantly than the name the star, which come and go, is the name of the director, because it stands for a handwriting, a topic, a category, rarely however for a face. Hitchcock had this handwriting, one„Style “, which stood for dark, tension-loaded materials, which brought in for it the title „masters of the Suspense “. Although by the film companies for the graduation own departments or external agencies are usually assigned, the Werbekampagnen carried the handwriting clearly with Hitchcocks filmsthe director. Hitchcock established a representative Selbstportrait as Logo. The cinema Trailer was frequently not only Zusammenschnitte of the announced film, but placed the Komiker Hitchcock into the foreground, which presented in the role one „to master OF Ceremony “its own films.

In addition lucrative license agreement, on the one hand the TV serial Alfred Hitchcock Presents, came which it anmoderierte, on the other hand a crime film magazine (Alfred Hitchcocks Mystery of magazines) and book series of child crime films (The Three Investigators), from that the successful German radio play row thosedeveloped for three question marks. By this graduation work the product obtained „“a high recognizing value to Hitchcock and durably in the public perception was installed.

From the emergency born, i.e., one always saw the director to the lack of Komparserie in its first British filmsagain in the background emerge. From this it developed a further speciality, for which the public of its features waited strained: Hitchcocks mandatory Cameoauftritt.

Although most of his films found a large public, it the critics were most not particularly probably deliberate.Only the French film critics around Claude Chabrol and François Truffaut, which admits as a founder of the Nouvelle Vague become should, saw more than one executing aide of the producers in him. They recognized their own handwriting in its films and honoured itas Auteur.

Blondinen and mothers

obvious are Hitchcocks woman picture. Beside the classical, usually young, always beautiful and sometimes innocent Blondine is there still the biting, often malicious or however with good advice to the side standing, howeveralways old nut/mother figure. Hitchcock was center twenty and already a successful film director, however ever alcohol had not drunk or an affair with a woman had had. With 27 years he married Alma Reville, a delicate, naturrothaarige woman, with whom he toto his death lived together. She was above all also „the strong woman, who stands behind a strong man “. At first directly into the film script work involved, it was inaugurated up to death into each larger creative decision. Alma takes the master role inHitchcocks life. Its Obsessionen apply for the young, blond actresses, who it engaged and who must act then after its Gusto. In the reality it comes again and again to discords, then it does not forgive Vera Miles that it ungefragt more schwangerbecame, where he wanted to make it nevertheless in Vertigo the star. For Kim Novak it let complete clothes , which were meant for their private life not for Vertigo, but tailor of the Kostümbildnerin Edith Head. Hitchcock wanted thosegreatest possible control of its female star exercise. Vertigo and notorious are considered therefore as strongly auto+biographic films. Both act of the Obsessionen and neuroses of men, who manipulate women.

In co-operation with the last authentic Hitchcock Blondine Tippi Hedren come itduring the work on Marnie to a heavy crisis. , Genuine birds collapsing from the director already during the trick to the birds during the meet-long photographs of on it strongly stressed and physically hurt, it points obviously to Hitchcocks of approximation attempts back (overthis episode never spoke Hitchcock publicly, and Hedren has itself in interviews only suggestions permitted). From now on Hitchcock refuses communicating with its actress directly and lets it its instructions over intermediaries align. Generally it is considered as secured realization,that the director could not recover from these difficulties for a long time and in his creative work strength was impaired. None of the later films knows a Hitchcock Blondine up, and even the blond Erpresserin in family grave emerges rapidly as a dunkelhaarige womanwith Perücke. In Hitchcocks last, unfinished project The Short Night however obviously again a Hitchcock Blondine was intended, which should be occupied with Catherine Deneuve.

Altogether the Hitchcock Blondine is not a asexuelles, ethereal nature, but a Mrs., their superficial coolness only thoseFoil for a fully developed Sexualität represents. This becomes particularly clear, if EH makes Marie Saint into invisible third ambiguous remarks, kisses suddenly the completely surprised Cary Grant and accommodates it without hesitating in its sleeping car compartment. Not the man,separate the blond woman play here the active part and eliminate brought social and sexual hierarchies.



1 year of the first public performance
2 production country (Ländercodes see here)
3 participation Hitchcocks: P roduktion, R egie, B uch, D acre plate (Statist)
* without namentliche denomination

the British films

Year 1 country 2 Beteilg.3 German title (original title) - if necessary. Actor
1922 GB P*/R NUMBER 13 [silent movie, unfinished, verschollen]
1923 GB R* Always Tell Your Wife [silent movie]
1923 GB B woman against woman (Woman ton of Woman) [silent movie]
1923 GB B The White Shadow [silent movie]
1924 GB B its second wife (The Prude' s case) [silent movie]
1924 GB B marriage in danger (The PassionateAdventure) [silent movie]
1925 GB B the princess and the violonist [silent movie]
1925 GB R Irrgarten of the passion (The Pleasure guards) [silent movie]
1926 GB R of the mountain eagles (The Mountain Eagle) [silent movie, verschollen]
1927 GB R/B*/D* of the tenants (The Lodger) [silent movie]
1927 GB R downward (Downhill) [silent movie]
1927 GB R/D* Easy four-do [silent movie]
to 1927 GB R/B of the world champions (The ring) [silent movie]
1928 GB R/B* the farmer's wife (The Farmer' s Wife) [silent movie]
1928 GB R/B Champagne [silent movie]
1929 GB R the man of thatIsland one (The Manxman) [silent movie]
1929 GB R/B/D* extortion (Blackmail) - with Anny Ondra
1930 GB R/B Juno and the Paycock
1930 GB R/B/D* murder - Sir John intervenes! (Murder!) - with harsh ore marshal
1930 D/GB R/B Mary - with Alfred Abel
1931 GB R/B to on measurer (The Skin Game)
1931 GB R/B finite we are richly (smell and strand)
1932 GB R/B number seventeen (NUMBER Seventeen)
1932 GB P lord Camber' s Ladies
1933 GB R Viennese tome (Waltzes from Vienna)
1934 GB R the man, the too much knew (The one Who Knew Too Much) - with Peter Lorre
1935 GB R/D* the 39 stages (The 39 steps) - with Robert Donat and Lucie Mannheim
1936 GB R secret agent (Secret agent) - with John Gielgud and Peter Lorre
1936 GB R sabotage (sabotage) - with Sylvia Sidney and Oskar Homolka
1937 GB R/D* young and innocently (Young and Innocent)
1938 GB R/D* a lady disappears (TheLady Vanishes) - with Margaret Lockwood and Michael Redgrave
1939 GB R reef Piraten (Jamaica Inn) - with Charles Laughton
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the US-American films

Year 1 country 2 Beteilg.3 German title (original title) - if necessary. Actor
the 1940 USA R* The House Across the Bay
the 1940 USA R/D* Rebecca (Rebecca) - with Laurence Olivier and Joan Fontaine
the 1940 USA R/D* the foreign correspondent (Foreign Correspondent) - with Joel McCrea, harsh ore marshal and George of Sanders
the 1941 USA R/D* Mr. and Mrs. Smith (Mr. & Mrs. Smith) - also Carole Lombard and Robert Montgomery
the 1941 USA P*/R/D* suspicion (Suspicion) - with Joan Fontaine and Cary Grant
the 1942 USA R/B*/D* Saboteure (Saboteur) - with Robert Cummings
the 1943 USA R/D* in the shade of the doubt (Shadow OF A Doubt) - also Teresa WRIGHT and Joseph Cotten
the 1943 USA B* on eternal and three days (Forever and A Day)
1944 GB R property journey (Bon Voyage) [Kurzfilm]
1944 GB R Aventure Malgache (Aventure malgache) [Kurzfilm]
the 1944 USA R the life raft (Lifeboat) - with Tallulah Bankhead
the 1945 USA R/D* I fight for you (Spellbound) - with Ingrid Bergman and Gregory Peck
the 1946 USA P*/R/D* notorious (Notorious) - with Cary Grant and Ingrid Bergman
the 1947 USA R/D* the case Paradin (The Paradine Case) - with Gregory Peck and Charles Laughton
the 1948 USA P*/R/D* Cocktail for a corpse (Rope) - with James Stewart
the 1949 USA P*/R/D* slave of the heart (Under Capricorn) - with Ingrid Bergman and Joseph Cotten
1950 GB P*/R/D* the red Lola (Steam turbine and gas turbine systems Fright) - with Jane Wyman and Marlene Dietrich
the 1951 USA P*/R/D* of the foreigner in the course (Strangers on A Train) - with Farley Granger and Robert Walker
the 1953 USA P*/R/D* I beichte (I Confess) - with Montgomery Clift, Anne Baxter and Karl Malden
the 1954 USA P*/R with call murder (dial M for Murder) - with Ray Milland and Grace Kelly
the 1954 USA P*/R/D* the window to the yard (Rear Window) - with James Stewart and Grace Kelly
the 1955 USA P*/R/D* over the roofs of Nice (ton of Catch A Thief) - with Cary Grant and Grace Kelly
the 1955 USA P*/R/D* always annoyance with Harry (The Trouble with Harry) - with John Forsythe and Shirley MacLaine
the 1956 USA P*/R/D* the man,the too much knew (The one Who Knew Too Much) - with James Stewart and Doris Day
the 1956 USA P*/R/D* the wrong man (The Wrong one) - with Henry Fonda and Vera Miles
the 1958 USA P*/R/D* Vertigo - from the realmthe dead one (Vertigo) - with James Stewart, Kim Novak and Barbara Bel Geddes
the 1959 USA P*/R/D* invisible third (North by Northwest) - with Cary Grant, EH Marie Saint and James Mason
the 1960 USA P*/R/D* Psycho (Psycho) - with Anthony Perkins, Janet Leigh, Vera Miles and Martin balsam
the 1963 USA P*/R/D* the birds (The Birds) - with Rod Taylor, Tippi Hedren and Jessica Tandy
the 1964 USA P*/R/D* Marnie (Marnie) - with Tippi Hedren and Sean Connery
the 1966 USA P*/R/D* the torn curtain (Torn Curtain) - with Paul Newman, Julie Andrew and Hansjörg Felmy
the 1969 USA P*/R/D* Topas (Topaz) - with Frederick Stafford, Karin Dor and Claude Jade
1972 GB P*/R/D* Frenzy (Frenzy) - with Jon Finch
the 1976 USA P*/R/D* family grave (Family Plot) - with Karen Black and Bruce Dern
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  • Robert E. Kapsis: Hitchcock: The Making OF A Reputation. University OF Chicago press 1992. ISBN 0226424898. (Scientific English-language work, those information-rich the developed call Hitchcocks lights up and so also on imitations of its filmsis received (particularly:Brian De Palma).)
  • EH Rieger: Alfreds Hitchcock and the music. An investigation to the relationship of film, music and sex, small one, Bielefeld 1996, ISBN 3893702369
  • Donald Spoto: Alfred Hitchcock. Piper, Munich 1999. ISBN 3-492-22798-8 (dt. Translationof a Biografie of 1983) François Truffaut, detailed by
  • Bodo Fründt: Mr. Hitchcock, how have you that made?. Heyne, 2003. ISBN 3-453-86141-8 (succession of interviews (about 50 hours) frz. Director from the year 1962). Expenditure for original: François Truffaut: Lecinéma selon Hitchcock (dt. “The film in accordance with Hitchcock”) Simon and shoemaker, 1984. ISBN 0-671-52601-4.
  • Robert A. Harris, Michael S. Lasky, Hrsg. Joe Hembus: Alfred Hitchcock and its films (OT: The of film OF Alfred Hitchcock). CIT aristocracy film book with Goldmann, Munich1976, ISBN 3-442-10201-4
  • Bill Krohn: Hitchcock RK work. Phaidon press 2000. ISBN 0714843334. (Study over Hitchcocks detailed function in its American time)
  • Lars Olav Beier, George Seesslen (Hrsg.): Alfred Hitchcock. Bertz publishing house, Berlin 1999, ISBN 3929470764
  • Enno Patalas: Hitchcock. dtv, 1999

Web on the left of

Wikiquote: Alfred Hitchcock - quotations
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| | * Literature of and over Alfred Hitchcock in the catalog of the DDB



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