Titlebook: Reassessing the Hitchcock Touch; Industry, Collaborat Wieland Schwanebeck Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Hi

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: Directed by Alfred Hitchcockly have ended up in the director’s chair for .. The chapter addresses some of these myths yet also delivers an assessment of Hitchcock’s actual influence on ., revealing some surprising links between Spielberg’s groundbreaking monster movie and Hitchcock’s British oeuvre.

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Introducing the Hitchcock Touch,ions which Hitchcock scholars have offered over the years. Following a brief intertextual comparison between the ‘Hitchcock Touch’ and the ‘Midas’ touch associated with larger-than-life villains like Auric Goldfinger in the James Bond films (a franchise that owes quite a significant debt to Hitchcoc

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Gazing and Constructing: Imag(in)ing Madeleine in ,e author argues that small inconsistencies and continuity errors in the film’s . which have hitherto been dismissed as ‘goofs’ are, in fact, part of the film’s complex subtext about deception, imagination, and lying. As Hitchcock directs some of Scottie’s gazes at Madeleine and Judy as deviating, di

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“If I Won’t Be Myself, Who Will?” The Making of a Star Persona in , and , celebrity theories as well as concepts of paratextuality in order to assess Hitchcock’s practices of self-promotion in his long-running TV show. While the cameos in his films may seem unobtrusive, Hitchcock played an enormous role in the PR machinery surrounding his oeuvre, as publicity campaigns n

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Alfred Hitchcock: Cinematic Seducer , and the Seduction Theory of Filmcock was capable of a far more drastic tone than he had previously demonstrated. . is not only a variation on his well-known theme of the “guiltlessly guilty” man, but also a meta-cinematic reflection of Hitchcock’s own standards as a filmmaker. From the perspective of a cinematic theory of seductio