Hitchcock's Films Revisited / Edition 2

by Robin Wood

Overview

When Hitchcock's Films was first published, it quickly became known as a new kind of book on film and as a necessary text in the growing body of Hitchcock criticism. This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a critic—including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life and have remained deeply intertwined through the years. This revised edition also includes a new chapter on Marnie.

Product Details

ISBN-13:	9780231126953
Publisher:	Columbia University Press
Publication date:	06/20/2002
Edition description:	revised edition
Pages:	448
Product dimensions:	6.00(w) x 8.90(h) x 1.10(d)
Age Range:	18 Years

About the Author

Robin Wood, a founding editor of CineAction, is the author of Sexual Politics and Narrative Film (Columbia, 1998) and Hollywood From Vietnam to Reagan (Columbia, 1985), among other books.

Table of Contents

Preface to the Revised Edition
Acknowledgments
Introduction
Book One: Hitchcock's Films
1. Introduction
2. Strangers on a Train
3. Rear Window
4. Vertigo
5. North by Northwest
6. Psycho
7. The Birds
8. Marnie
9. Torn Curtain (1969)
10. Retrospective (1977)
Endnotes from Earlier Editions
Book Two: Hitchcock's Films Revisited
11. Plot FOrmations
12. Symmetry, Closure, Disruption: The Ambiguity of Blackmail
13. Norms and Variations: The 39 Steps and Young and Innocent
14. Ideology, Genre, Auteur: Shadow of a Doubt
15. Star and Auteur: Hitchcock's Films with Bergman
16. The Murderous Gays: Hitchcock's Homophobia
17. The Men Who Knew Too Much (and the women who knew much better)
18. Male Desire, Male Anxiety: The Essential Hitchcock
19. You Freud, Me Hitchcock: Marnie Revisited
Bibliography
Index

Editorial Reviews

It is impossible not to be impressed by the richness, justice, and eloquence of [Wood´s] readings like Rope, Notorious, Under Capricorn, and The Man Who Knew Too Much. . . . If there are still any doubters about Hitchcock's central place in the canon of 20th century artists, they should address themselves to this wonderful study, where they will find the case for the defense magisterially outlined and argued with sustained, fiery conviction.

London Times Saturday Review