What began as a simple attempt to follow up on a few references to writings by Alfred Hitchcock very quickly turned into a much more complicated, time-consuming, but endlessly fascinating project that I could not have completed without a great deal of help. Early support is always particularly important, and I have been extremely fortunate in this regard. Patricia Hitchcock O’Connell was gracious and encouraging from the very beginning and literally made this volume possible by granting her permission to reprint the material herein. And, at the University of California Press, Ed Dimendberg’s immediately enthusiastic response to my first query was followed by several years of invaluable critical advice, patience, and continuing enthusiasm.
Much of my research was conducted at the New York Public Library, the Film Study Center of the Museum of Modern Art, the British Film Institute, the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences, and the Warner Brothers archive at the Library of Performing Arts at the University of Southern California (USC). I am grateful to the librarians and research associates at those institutions for their help, particularly in examining out-of-the-way magazines, newspapers, and clippings files. I am also grateful to Susan and Jonathan Post, who made my various California research trips pleasurable and productive by giving me not only much warm support and encouragement but also a room of my own (with a view and a pool).
Jane Sloan answered many questions and sent me printouts from her exhaustive Hitchcock bibliography before it was published, and this steered me to articles I undoubtedly would have otherwise missed. Sam Gill helped me find my way through the massive Hitchcock Collection at the Herrick Library. Ned Comstock at the Library of Performing Arts at USC uncovered articles by Hitchcock that I had never heard of even as he was bringing me material from the USC collection that is unavailable elsewhere. Charles Silver at the Museum of Modern Art pulled folder after folder of clippings files, which enabled me to find several one-of-a-kind items. Ronald Magliozzi, also at MOMA, did some last-minute checking for me at a moment’s notice. Fiona Bolt and Phil Wickham at the British Film Institute answered numerous queries and sent me essential material. David Henry sent me a copy of an article by Hitchcock that I had never seen. Deborah Dutko gave much valuable advice about design and illustrations.
Various people at Sacred Heart University assisted in critical ways. Judith Davis Miller, Kristen Wenzel, and Thomas J. Trebon arranged for much-needed release time and a convenient teaching schedule, which helped make my ideal of balancing research and teaching a reality. Claire Marrone translated an article from the French specifically for this volume. I have received much of my education in film while at Sacred Heart, where Rebecca Abbott, Louise Spence, and Chris Sharrett (no longer my co-worker but always my friend and co-conspirator) have taught a great deal about film history and theory not only to several generations of students but also to at least one very grateful colleague.
I am a scholar by profession but a film lover by inclination, and my later education in film would not have taken hold unless I had been prepared much earlier—by many days and nights working at the Strand Theater with Paul, Ziggy, and Jim and many afternoons at the Whitney Theater with my brother Lou. And now that a VCR has replaced those theaters and the film projector my father gave me, Suzanne Golub helps, more than she knows, in part by reading proofs and watching me watch Hitchcock movies.
S. G.
Somerset and Hamden
The Hitchcock Estate has very kindly granted their permission to reprint all the pieces in this volume. Original publication information appears at the bottom of the title page for each article. Additional permissions are as follows:
“Surviving” is reprinted with permission from Sight and Sound (Summer 1977). Copyright © 1977.
“Master of Suspense: Being a Self-Analysis,” “Core of the Movie—The Chase,” “Murder—With English on It” and “Search for the Sun” are Copyright © 1937/50/57 by The New York Times Company. Reprinted by permission.
“Would You Like to Know Your Future?” is reprinted with permission from Guideposts Magazine. Copyright © 1959 by Guideposts Associates, Inc., Carmel, New York 10512.
“A Redbook Dialogue: Alfred Hitchcock and Dr. Fredric Wertham” is reprinted by permission from Redbook. Copyright © 1963 The Hearst Corporation. All rights reserved.
“Production Methods Compared” is reprinted by permission from the American Cinematographer. Copyright © 1949 by the American Society of Cinematographers. All rights reserved.
“Film Production” is reprinted with permission from “Motion Pictures” in Encyclopaedia Britannica, 14th edition. Copyright © 1965 by Encyclopaedia Britannica, Inc.
“Direction,” originally titled “My Own Methods,” is reprinted with permission from Sight and Sound (Summer 1937). Copyright © 1937.
“Lecture at Columbia University” is reprinted by permission of The Museum of Modern Art. All rights reserved.
“Hitchcock Talks About Lights, Cameras, Action” is reprinted by permission from the American Cinematographer. Copyright © 1967 by the American Society of Cinematographers. All rights reserved.