The autobiography of John Hitchcock is a true life story that will make you laugh and it will make you cry. All readers will find comfort in the acceptance and easiness to relate to his stories. The stories of adventure, danger, deliverance, and the unseen hand of God in John's life will keep you engaged. John stutters, yet every time he prays, preaches or sings he is totally fluent. He is an example that miracles do happen. The pages will become addictive and it will be almost impossible to put the book down. You will read stories about the wildlife in Africa that almost killed him to the eerie acquaintances with spirits and ghosts that are sure to make the hair on your neck stand up. Readers will cry as they turn each page as they become John's friend and feel his pain as they discover his heartaches and setbacks, but will smile as they learn that all things happen for a reason. Read the story of a classic romance that will give others hope in the low times of their lives. There is a story for everyone, from young to aged, I dare you to enter John's world and quickly become a friend of his literature" - Charlene Hitchcock, daughter. www.johnhitchcockministries.blogspot.com evangelfires@gmail.com.
Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work. This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.
Edgar Award Winner: This lively account of the director’s battles with the Code Office is “an essential addition to any Hitchcock shelf” (Mystery Scene Magazine). From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed “excessively lustful” kissing from the screen and ensured that no criminal went unpunished. Thus, throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. During their review of Hitchcock’s films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca, absolved Cary Grant of guilt in Suspicion, edited Cole Porter’s lyrics in Stage Fright, decided which shades should be drawn in Rear Window, and shortened the shower scene in Psycho. In Hitchcock and the Censors, John Billheimer traces the forces that led to the Production Code and describes Hitchcock’s interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock’s priorities in dealing with the censors, this work highlights the director’s theories of suspense as well as his magician-like touch when negotiating with code officials.
In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women. Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself—that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style. Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.
The autobiography of John Hitchcock is a true life story that will make you laugh and it will make you cry. All readers will find comfort in the acceptance and easiness to relate to his stories. The stories of adventure, danger, deliverance, and the unseen hand of God in John's life will keep you engaged. John stutters, yet every time he prays, preaches or sings he is totally fluent. He is an example that miracles do happen. The pages will become addictive and it will be almost impossible to put the book down. You will read stories about the wildlife in Africa that almost killed him to the eerie acquaintances with spirits and ghosts that are sure to make the hair on your neck stand up. Readers will cry as they turn each page as they become John's friend and feel his pain as they discover his heartaches and setbacks, but will smile as they learn that all things happen for a reason. Read the story of a classic romance that will give others hope in the low times of their lives. There is a story for everyone, from young to aged, I dare you to enter John's world and quickly become a friend of his literature" - Charlene Hitchcock, daughter. www. johnhitchcockministries.blogspot.com evangelfires@gmail.com.
Discover a collection of films, intended to be directed by the Master of Suspense, Alfred Hitchcock, that were never completed. Many Hitchcock fans are unfamiliar with the stories behind these forgotten films that, at one time or another, were associated with Alfred Hitchcock as director.
Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work. This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.
In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women. Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself—that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style. Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.
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