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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The Visual Peak: Saul Bass as Hitchcock’s ‘Pictorial Consultant’director) contributed extensively to Alfred Hitchcock’s films. Using Bass’s designs for . (1958), . (1959), and . (1960), Jung examines the handiwork of Bass in detail, exploring his function as a graphic designer by using both official and off-the-record designs, including poster artwork, trailers,

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Alfred Hitchcock’s , Seriesy Robert Arthur Jr. in 1964. Although the early volumes bore Hitchcock’s name, he had, in fact, very little to do with the series. At the same time, the Hitchcock brand was indispensable for the success of Arthur’s novels, for it was extremely popular in the USA at that time because of his various f

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Hitchcock—Powell—Fordporaries. This chapter explores parallels between the careers of Hitchcock and John Ford, the only director to rival him for the sheer longevity and high achievement of his career in popular cinema, silent and sound. Both directors used the same actors in their films and are associated with several

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Gazing and Constructing: Imag(in)ing Madeleine in ,he film’s complex subtext about deception, imagination, and lying. As Hitchcock directs some of Scottie’s gazes at Madeleine and Judy as deviating, divergent visual impressions that are consequently bound in continuous POV shots, the act of seeing itself is rendered problematic.

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