|
Great Directors: Alfred
Hitchcock |
|
| Home | Schedule of
Classes, Readings, and Screenings: Week 1: Introduction;
Hitchcock in
Britain Reading: Hitchcock,
“Preface,” “Introduction,” Chapters 1-3 (pages
11-87); Donald Spoto, “One” (CR, from The Dark Side of Genius); Patrick
McGilligan, “1899-1913” (CR, from Alfred Hitchcock: A Life in Darkness and
Light); Tom Ryall, “British Film Culture in
the Interwar Period” (CR, from Alfred Hitchcock and the British Cinema);
Sidney Gottlieb, “Early
Hitchcock: The German Influence” (CR,
from Framing
Hitchcock). M (1/06):
Brief introduction; administrative matters; The Lodger (1927) T (1/07): Hitchcock and film
studies; the
European Hitchcock W (1/08): Blackmail
(1929) R (1/09): NO
CLASS Week 2: The
Hitchcock
Thriller Reading: Hitchcock,
Chapters 4 & 5 (pages 88-125); Ina Rae Hark,
“Keeping Your Amateur
Standing: Audience Participation and Good
Citizenship in Hitchcock’s Political
Films” (CR,
from Cinema
Journal). M (1/13): The
39 Steps (1935) T (1/14): The origins of the
Hitchcock thriller W (1/15): The
Lady Vanishes (1938) R (1/16): Hitchcock’s favorite
places Week 3: Hitchcock’s
Transatlantic
Crossing
Reading: Hitchcock,
Chapters 6 & 7 (pages 126-161); Leonard J. Leff,
“Signing Hitchcock” &
“Rebecca”
(CR, from Hitchcock and
Selznick: The Rich and Strange Collaboration of
Alfred Hitchcock and David O.
Selznick); Peter Wollen, “Hitch: A Tale of
Two Cities (London and Los Angeles)” (CR,
from Hitchcock:
Past and Future). M (1/20): NO
CLASS: Martin Luther King Day T (1/21): Rebecca
(1940) W (1/22): Shadow
of a Doubt (1943) R
(1/23):
Hitchcock,
Selznick, and Hollywood; all-American towns and
family values Week 4: Hitchcock and the
Hollywood
Studio System Reading: Hitchcock, Chapters 8-9 (pages
162-191); Joe McElhaney,
“The Object and the Face: Notorious,
Bergman and the close-up” (CR, from Hitchcock: Past
and future); Peter
Wollen, “Rope:
Three Hypotheses”(CR, from Alfred Hitchcock: Centenary Essays);
Robin Wood, “The Murderous
Gays: Hitchcock’s Homophobia” (CR,
from Hitchcock’s
Films Revisited). M (1/27): Notorious
(1946) T (1/28): Hitchcock and the
Hollywood star
system; Hitchcock’s WWII W (1/29): Rope
(1948) R (1/30): Experimental Hitchcock;
Hitchcock’s
Cold War Week 5: The “Hitchcock
Picture”
Reading: Hitchcock,
Chapters 10-11 (pages 192-233; save section on Dial M for Murder and 3D for next
week); Robin Wood, “Strangers on a
Train” (CR,
from Hitchcock’s Films Revisited); Tania
Modleski, “The Master’s
Dollhouse: Rear
Window” (CR,
from The Women Who Knew Too Much: Hitchcock and
Feminist Theory); Claude
Chabrol, “Serious Things” (CR, from Cahiers du
Cinéma). M (2/03): Strangers
on a Train (1951) T (2/04): Hitchcock’s family plots W (2/05): Rear
Window (1954) R (2/06): Viewing positions Week 6: The Modern
Hitchcock
Reading: Hitchcock, Chapters 11 (on Dial M for Murder and 3D) & 12
(pages 208-13 and 235-249; read
section on North
by Northwest next
week); James Vest, “To Catch a Liar: Bazin, Chabrol,
and Truffaut Encounter
Hitchcock” & Walter Raubicheck, “Hitchcock,
The First Forty-Four Films: Chabrol and
Rohmer’s “Politique des Auteurs” (CR, from Hitchcock: Past and Future); Andrew
Sarris, “Alfred Hitchcock” (CR, from The American Cinema). M (2/10): Dial
M for Murder (1954) T (2/11): FIRST
MIDTERM (in class) W (2/12): Vertigo
(1958) R (2/13): Hitchcock and technology;
the
Hitchcocko-Hawksians, the French new wave, &
auteur theory Week 7: The French
Hitchcock
Reading: Hitchcock,
Chapter 12 (pages 249-257); Richard H. Millington,
“Hitchcock and American
Character: The Comedy of Self-Construction in North by
Northwest”
(CR, from
Hitchcock’s
America);
M (2/17): NO
CLASS: President’s Day T (2/18): The Hitchcocko-Hawksians,
the French
new wave, & auteur theory W (2/19): North
by
Northwest (1959)
R (2/20): Hitchcock on the road Week 8: Hitchcock’s
America Reading: Hitchcock,
Chapter 13 (pages 258-283); Thomas M. Leitch, “The
Outer Circle: Hitchcock on
Television” (CR,
from Alfred
Hitchcock: Centenary Essays); J.
Hoberman, “Psycho
is 50” and Andrew
Sarris, “The Movie Journal [On Psycho]”
(both online at http://blogs.villagevoice.com/runninscared/2010/06/psycho.php);
Jean
Douchet, “Hitch and his Audience” (CR,
from Cahiers
du Cinéma); Jack Sullivan,
“Psycho:
The Music of Terror” (CR, from Cineaste); Michel Chion, “The
Impossible Embodiment” [CR, from Everything You Always Wanted to Know about
Lacan (But Were Afraid to
Ask Hitchcock)]. M (2/24): selections
from Alfred
Hitchcock Presents T (2/25): Hitchcock on television;
multiplatform cinema W (2/26): Psycho
(1960) R (2/27): Cinema sliced and
sutured; the
afterlife of Alfred Hitchcock Week 9: The Hitchcock
Legend Reading: Hitchcock, Chapters 14 & 15
(pages 284-321);
Joe McElhaney, “Touching the Surface: Marnie,
Melodrama, Modernism” (CR, from Hitchcock:
Centenary Essays); Sarah
Street, “Hitchcockian Haberdashery”(CR,
from Framing
Hitchcock); Richard
Allen, “Hitchcock’s Color Designs” (CR,
from Color:
The Film Reader). M (3/03): The
Birds (1963) T (3/04): Hitchcock and nature W (3/05): Marnie
(1964) R (3/06): Hitchcock’s murderous
gaze; bad
Hitchcock? Week 10: The Last Decade Reading: Hitchcock,
Chapter 16 (pages 323-350). M (3/10): Frenzy (1972) T (3/11): Hitchcock: The finale and
the parody W (3/12): NO
SCREENING R (3/13): SECOND
MIDTERM (in class)
Return to Top |
|
Contact the instructor at: jtweedie@u.washington.edu
|