Hitchcock Lost and Found

Hitchcock Lost and Found: The Forgotten Films

ALAIN KERZONCUF
CHARLES BARR
Foreword by PHILIP FRENCH
Series: Screen Classics
Copyright Date: 2015
Pages: 266
https://www.jstor.org/stable/j.ctt13x1s1n
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  • Book Info
    Hitchcock Lost and Found
    Book Description:

    Known as the celebrated director of critical and commercial successes such asPsycho(1960) andThe Birds(1963), Alfred Hitchcock is famous for his distinctive visual style and signature motifs. While recent books and articles discussing his life and work focus on the production and philosophy of his iconic Hollywood-era films likeNotorious(1946) andVertigo(1958),Hitchcock Lost and Foundmoves beyond these seminal works to explore forgotten, incomplete, lost, and recovered productions from all stages of his career, including his early years in Britain.

    Authors Alain Kerzoncuf and Charles Barr highlight Hitchcock's neglected works, including various films and television productions that supplement the critical attention already conferred on his feature films. They also explore the director's career during World War II, when he continued making high-profile features while also committing himself to a number of short war-effort projects on both sides of the Atlantic. Focusing on a range of forgotten but fascinating projects spanning five decades,Hitchcock Lost and Foundoffers a new, fuller perspective on the filmmaker's career and achievements.

    eISBN: 978-0-8131-6084-9
    Subjects: Performing Arts, History, Film Studies

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Foreword
    (pp. ix-xiv)
    Philip French

    In this valuable contribution to Hitchcock studies, a book of equal interest to the academic world and movie enthusiasts, Charles Barr and Alain Kerzoncuf quote Paula Cohen’s confident claim that “to study him is to find an economical way of studying the entire history of cinema.” Hitchcock has been part of my own experience of the cinema since 1939, the year I turned six, sawJamaica Innon its initial release, noted the name of the director, and began to develop the instincts of a discerning moviegoer. But not so discerning that good taste prevented me from enjoying its stirring...

  4. Note on Citation Style and Images
    (pp. xv-xvi)
  5. Introduction
    (pp. 1-10)

    In 2011 the discovery in New Zealand of a “lost Hitchcock film” made headlines around the world. The film wasThe White Shadowfrom 1924, earlier than any other surviving example of Hitchcock’s work. Soon it had high-profile and crowded screenings in Los Angeles, London, and elsewhere. Something similar had happened in 1983 when publicity was given inThe Timesnewspaper in London to the emergence from the vaults of the Imperial War Museum of a “missing Hitchcock,” a compilation of footage of the Nazi concentration camps. Media from all over the world homed in on the story, and Channel...

  6. 1 Before The Pleasure Garden: 1920–1925
    (pp. 11-72)

    Hitchcock directed his first feature,The Pleasure Garden(1926), at the age of twenty-five, the same age that Orson Welles was when he madeCitizen Kane.Like Welles, he was celebrated at the time, though on a lesser scale, as something of a “boy wonder.” Unlike Welles, however, he already had extensive film industry experience. The records indicate that beforeThe Pleasure Gardenhe had worked on twenty-one films. Not one of these is known to survive in full in its original English-language version, and commentators have understandably tended to skim over this period with a few speculative remarks about...

  7. 2 The Early 1930s
    (pp. 73-120)

    The beginning of the 1930s was an uncertain transitional time for Hitchcock, as for cinema generally—adjusting to the multiple challenges of the new synchronized sound format and also starting to be aware of the developing medium of television. The transition stage effectively begins in 1929, when British cinema commits itself to talkies, and to the radical and expensive changes they necessitate in production and exhibition.

    In the list that follows, the eight films with an asterisk are all credited unproblematically to Hitchcock as director. The other six are films with which he was either definitely or allegedly involved, in...

  8. 3 The War Years
    (pp. 121-192)

    Like the early 1930s, the war years were a busy transitional time for Hitchcock. They throw up a rich variety of “lost and found” material, and of questions attaching to it. A six-year narrative of transition and tension forms the context for a wide range of shorter projects—lost and found—that he worked on in the margins of the early Hollywood features.

    As an Englishman who arrived in Hollywood in March 1939, he soon had to endure the anxieties of being in a neutral country while his own was at war, and then, even after Pearl Harbor, of being...

  9. 4 After the War
    (pp. 193-214)

    Hitchcock’s career from the end of the war is much better known than his career up to 1945, and it has been much more fully worked over.

    In the 1950s he achieved a spectacular increase in fame and visibility, primarily through the TV series bearing his name, which ran for a decade from October 1955: 266 shows in all. It belongs to the time when TV’s dramatic output was moving rapidly beyond the initial stage of liveness and ephemerality, through two major technical developments: the recording of studio transmissions onto film via the process ofkinescoping(the American term) or...

  10. Epilogue: What Now?
    (pp. 215-218)

    Between the completion of this book and its publication, it is very possible that bits of new material will have come to light, at least in document form. Increasingly, early trade papers and other journals are being digitized and made more easily available in libraries and online, and an ever-growing number of researchers, within and beyond academia, use them to help investigate hitherto obscure corners of film history. All we can hope to have done is to have compiled a solid interim report on one important thread in this history, and to help give some extra impetus to the drive...

  11. Acknowledgments
    (pp. 219-220)
  12. Notes
    (pp. 221-230)
  13. Bibliography
    (pp. 231-236)
  14. Index
    (pp. 237-246)
  15. Back Matter
    (pp. 247-250)