Alfred Hershey
Alfred D. Hershey in 1969
Born	December 4, 1908 Owosso, Michigan
Died	May 22, 1997
Nationality	United States
Fields	bacteriology genetics
Alma mater	Michigan State University
Known for	bacteriophages
Notable awards	Nobel Prize in Physiology or Medicine in 1969

Alfred Day Hershey (December 4, 1908 – May 22, 1997) was an American Nobel Prize-winning bacteriologist and geneticist.

He was born in Owosso, Michigan and received his B.S. in chemistry at Michigan State University in 1930 and his Ph.D. in bacteriology in 1934, taking a position shortly thereafter at the Department of Bacteriology at Washington University in St. Louis.

He began performing experiments with bacteriophages with Italian-American Salvador Luria and German Max Delbrück in 1940, and observed that when two different strains of bacteriophage have infected the same bacteria, the two viruses may exchange genetic information.

He moved with his assistant Martha to Cold Spring Harbor, New York, in 1950 to join the Carnegie Institution of Washington's Department of Genetics, where he performed the famous Hershey-Chase experiment with Martha Chase in 1952. This experiment provided additional evidence that DNA, not protein, was the genetic material.

He became director of the Carnegie Institution in 1962 and was awarded the Nobel Prize in Physiology or Medicine in 1969, shared with Salvador Luria and Max Delbrück for their discovery on the replication of viruses and their genetic structure.

Hershey had 1 child with his wife Harriet (often called Jill), a son named Peter. The family was active in the social network of Cold Spring Harbor Laboratories and regularly enjoyed the beach in season.

After Hershey died, another phage worker, Frank Stahl, wrote: "The Phage Church, as we were sometimes called, was led by the Trinity of Delbrück, Luria, and Hershey. Delbrück's status as founder and his ex cathedra manner made him the pope, of course, and Luria was the hard-working, socially sensitive priest-confessor. And Al (Hershey) was the saint."[1]

References[link]

• Stahl, F W (2001). "Alfred Day Hershey". Biographical memoirs. National Academy of Sciences (U.S.) (United States) 80: 142–59. PMID 15202470. 
• Shampo, Marc A; Kyle Robert A (May. 2004). "Alfred Hershey--Nobel Prize for work in virology". Mayo Clin. Proc. (United States) 79 (5): 590. DOI:10.4065/79.5.590. ISSN 0025-6196. PMID 15132399. 
• Shampo, M A; Kyle R A (November 1999). "Max Delbrück and molecular genetics". Mayo Clin. Proc. (UNITED STATES) 74 (11): 1124. ISSN 0025-6196. PMID 10560600. 
• Raju, T N (August 1999). "The Nobel chronicles. 1969: Max Delbrück (1906-81); Salvador Luria (1912-91); and Alfred Hershey (1908-97)". Lancet (ENGLAND) 354 (9180): 784. DOI:10.1016/S0140-6736(05)76036-0. ISSN 0140-6736. PMID 10475234. 
• Campbell, A; Stahl F W (1998). "Alfred D. Hershey". Annu. Rev. Genet. (UNITED STATES) 32 (1): 1–6. DOI:10.1146/annurev.genet.32.1.1. ISSN 0066-4197. PMID 9928472. 
• Stahl, F W (May. 1998). "Hershey". Genetics (UNITED STATES) 149 (1): 1–6. ISSN 0016-6731. PMC 1460125. PMID 9584081. //www.pubmedcentral.nih.gov/articlerender.fcgi?tool=pmcentrez&artid=1460125. 
• Cairns, J (July 1997). "Alfred Hershey (1908-97)". Nature (ENGLAND) 388 (6638): 130. DOI:10.1038/40529. ISSN 0028-0836. PMID 9217149. 
• "[Nobel prize winners of 1969]". Orvosi hetilap (HUNGARY) 111 (8): 453–5. February 1970. ISSN 0030-6002. PMID 4906087. 
• Datta, R K; Datta B (December 1969). "Nobel prize winners in medicine". Journal of the Indian Medical Association (INDIA) 53 (12): 610–1. ISSN 0019-5847. PMID 4903713. 
• de Haan, P G (December 1969). "[Delbrück, Hershey and Luria, Nobel Prize winners]". Nederlands tijdschrift voor geneeskunde (NETHERLANDS) 113 (49): 2198–9. ISSN 0028-2162. PMID 4903007. 
• Malmgren, B (October 1969). "[The Nobel Prize in Physiology or Medicine to 3 bacteriophage researchers]". Nordisk medicin (Sweden) 82 (44): 1369–75. ISSN 0029-1420. PMID 4903832. 

External links[link]

• Nobel biography
• Biographical Memoir: Alfred Day Hershey by Franklin W. Stahl for the National Academy of Sciences
• Key Participants: Alfred D. Hershey - Linus Pauling and the Race for DNA: A Documentary History

Martha Cowles Chase
Born	(1927-11-30)November 30, 1927 Cleveland Heights, Ohio, USA
Died	August 8, 2003(2003-08-08) (aged 75) Lorain, Ohio, USA
Residence	USA
Citizenship	USA
Nationality	USA
Fields	Genetics
Alma mater	College of Wooster, University of Southern California

Martha Cowles Chase (November 30, 1927 – August 8, 2003), also known as Martha C. Epstein,^[1] was an American geneticist famously known for being a member of the 1952 team (see Alfred Hershey) which experimentally showed that DNA rather than protein is the genetic material of life. She was greatly respected as a geneticist. Chase was born in 1927 in Cleveland, Ohio. In 1950 she received her bachelor's degree from The College of Wooster and in 1964 her PhD from the University of Southern California.

In 1952 she was a young laboratory assistant to American bacteriophage expert Alfred Hershey at Cold Spring Harbor Laboratory from the University of Southern California. This was where the well-known Hershey-Chase experiment was performed. It was a series of personal setbacks through the 1960s ended her career in science.^[1] She spent decades suffering from a form of dementia that robbed her of short-term memory. She died of pneumonia on August 8, 2003, at the age of 75.^[1]

Key paper[link]

• Hershey, A. D. and Martha Chase. "Independent Functions of Viral Protein and Nucleic Acid in Growth of Bacteriophage." J. Gen. Physiol., 36 (1): 39-56. September 20, 1952.

References[link]

External links[link]

• Linus Pauling and the race for DNA: Martha Chase
• Dawson, Milly. Martha Chase Dies. Genome Biology 2003, 4:spotlight-20030820-01 doi:10.1186/gb-spotlight-20030820-01.

This article about an American biochemist is a stub. You can help Wikipedia by expanding it. v t e

Oswald Avery
Oswald Avery in 1937
Born	October 21, 1877 (1877-10-21) Halifax, Nova Scotia
Died	February 2, 1955(1955-02-02) (aged 77) Nashville, Tennessee
Citizenship	American
Nationality	Canada
Fields	molecular biology
Institutions	Rockefeller University Hospital
Known for	DNA transmits heredity

Oswald Theodore Avery ForMemRS (October 21, 1877 – February 2, 1955) was a Canadian-born American physician and medical researcher. The major part of his career was spent at the Rockefeller University Hospital in New York City. Avery was one of the first molecular biologists and a pioneer in immunochemistry, but he is best known for his discovery in 1944, with his co-workers Colin MacLeod and Maclyn McCarty, that DNA is the material of which genes and chromosomes are made.

The Nobel laureate Arne Tiselius said that Avery was the most deserving scientist to not receive the Nobel Prize for his work,^[1] though he was nominated for the award throughout the 1930s, '40s and '50s.^[2]

The lunar crater Avery was named in his honor.

Biography[link]

Avery was born in Halifax, Nova Scotia. His father was a Baptist minister, who was invited to move to New York City in 1887 to lead a congregation. Avery received his AB degree in 1900 from Colgate University. He earned an M.D. degree from the Columbia College of Physicians and Surgeons in 1904. He practiced medicine in New York City until 1907 when he became a researcher at Hoagland Laboratory in Brooklyn, New York.^[3] As an adult, Avery suffered from hyperthyroidism (Graves disease) and he underwent thyroid surgery in 1934.^[4] He was elected a Fellow of the American Academy of Arts and Sciences in 1936.^[5]

Breakthrough discovery[link]

Double Helix Discovery
William Astbury
Oswald Avery
Francis Crick
Erwin Chargaff
Jerry Donohue
Rosalind Franklin
Raymond Gosling
Phoebus Levene
Friedrich Miescher
Sir John Randall
Alex Stokes
James Watson
Maurice Wilkins
Herbert Wilson

For many years, genetic information was thought to be contained in cell protein. Continuing the research done by Frederick Griffith in 1927, Avery worked with MacLeod and McCarty on the mystery of inheritance. He had received emeritus status from the Rockefeller Institute in 1943, but continued working for five years, proving that not all breakthrough discoveries are achieved by younger people (by this time he was in his late sixties). Techniques were available to remove various organic compounds from bacteria, and if the remaining organic compounds were still able to cause R strain bacteria to transform then the substances removed could not be the carrier of genes. S strain bacteria first had the large cellular structures removed. Then they were treated with protease enzymes, which removed the proteins from the cells before the remainder was placed with R strain bacteria. The R strain bacteria transformed, meaning that proteins didn't carry the genes causing the disease. Then the remnants of the R strain bacteria were treated with a deoxyribonuclease enzyme which removed the DNA. After this treatment, the R strain bacteria no longer transformed. This indicated that DNA was the carrier of genes in cells.

Alfred Hershey and Martha Chase furthered Avery's research in 1952 with the Hershey-Chase experiment. These experiments paved the way for Watson and Crick's discovery of the helical structure of DNA, and thus the birth of modern genetics and molecular biology. Of this event, Avery wrote in a letter to his son, "It's lots of fun to blow bubbles but it's wiser to prick them yourself before someone else tries to."

Nobel laureate Joshua Lederberg stated that Avery and his laboratory provided "the historical platform of modern DNA research" and "betokened the molecular revolution in genetics and biomedical science generally.

Bibliography[link]

The collected papers of Avery are stored in two locations: the Tennessee State Library and Archives, and the Rockefeller Archive. Many of his papers, poems, and hand written lab-notes are available at the National Library of Medicine in the Oswald T. Avery Collection, the first of their Profiles in Science series.^[6]

References[link]

Further reading[link]

• Diamond, Arthur M. (Autumn 1982) "Avery's 'Neurotic Reluctance'." Perspectives in Biology and Medicine 26, (1) : 132-136.
• René Dubos, The Professor, the Institute, and DNA: Oswald T. Avery, His Life and Scientific Achievements, 1976, Paul & Company, ISBN 0-87470-022-1
• Lehrer, Steven (2006). Explorers of the Body (2nd ed.). United States: iUniverse, Inc. ISBN 0-595-40731-5. http://books.google.com/?id=iwDn7ubDO2kC. 
• Reichard, Peter (April 2002). "Osvald T. Avery and the Nobel Prize in medicine". J. Biol. Chem. 277 (16): 13355–62. DOI:10.1074/jbc.R200002200. PMID 11872756. 
• Sri Kantha S: Avery's non-recognition in Nobel awards. BioEssays, 1989; 10: 131.
• Avery, O T; Macleod C M, McCarty M (October 2000). "Studies on the chemical nature of the substance inducing transformation of pneumococcal types: Induction of transformation by a desoxyribonucleic acid fraction isolated from Pneumococcus type III. Oswald Theodore Avery (1877-1955)". Clin. Orthop. Relat. Res. 379 (379 Suppl): S3–8. DOI:10.1097/00003086-200010001-00002. PMID 11039746. 
• Austrian, R (July 1999). "Oswald T. Avery: the Wizard of York Avenue". Am. J. Med. 107 (1A): 7S–11S. DOI:10.1016/S0002-9343(99)00109-6. PMID 10451004. 
• Barciszewski, J (. 1995). "[Pioneers in molecular biology: Emil Fischer, Erwin Schrodinger and Oswald T. Avery]". Postepy Biochem. 41 (1): 4–6. PMID 7777433. 
• Lederberg, J (February 1994). "The transformation of genetics by DNA: an anniversary celebration of Avery, MacLeod and McCarty (1944)". Genetics 136 (2): 423–6. PMC 1205797. PMID 8150273. //www.pubmedcentral.nih.gov/articlerender.fcgi?tool=pmcentrez&artid=1205797. 
• Amsterdamska, O (. 1993). "From pneumonia to DNA: the research career of Oswald T. Avery". Historical Studies in the Physical and Biological Sciences : HSPS / Office of History of Science and Technology, University of California, Berkeley 24 (pt 1): 1–40. PMID 11623400. 
• Russell, N (December 1988). "Oswald Avery and the origin of molecular biology". British Journal for the History of Science 21 (71 Pt 4): 193–400. DOI:10.1017/S0007087400025310. PMID 11621687. 
• Pirie, N W (December 1972). "Avery in retrospect". Nature 240 (5383): 572. DOI:10.1038/240572a0. PMID 4568407. 
• Coburn, A F (. 1969). "Oswald Theodore Avery and DNA". Perspect. Biol. Med. 12 (4): 623–30. PMID 4900165. 
• HOTCHKISS, R D (January 1965). "Oswald T. Avery: 1877-1955". Genetics 51: 1–10. PMID 14258070. 
• "Oswald Theodore Avery, 1877-1955". J. Gen. Microbiol. 17 (3): 539–49. December 1957. PMID 13491790. 
• DOCHEZ, A R (. 1955). "Oswald Theodore Avery, 1877-1955". Trans. Assoc. Am. Physicians 68: 7–8. PMID 13299298. 
• Stegenga, Jacob (2011). "The chemical characterization of the gene: vicissitudes of evidential assessment". History and Philosophy of the Life Sciences 33 (1): 105–127. PMID 21789957. http://www.hpls-szn.com/articles.asp?id=131&book=28. 

Other sources[link]

• Kay, Alan (1970). "Avery, Oswald T.". Dictionary of Scientific Biography. 1. New York: Charles Scribner's Sons. pp. 342–343. ISBN 0-684-10114-9. 

External links[link]

• Key Participants: Oswald T. Avery - Linus Pauling and the Race for DNA: A Documentary History
• Oswald Avery Papers finding aid at the Tennessee State Library and Archives
• Oswald T. Avery Collection (1912-2005) - National Library of Medicine finding aid
• The Oswald T. Avery COllection - Profiles in Science, National Library of Medicine

Sir Alfred Hitchcock
Studio publicity photo
Born	Alfred Joseph Hitchcock (1899-08-13)13 August 1899 Leytonstone, London, England, UK
Died	29 April 1980(1980-04-29) (aged 80) Bel Air, California, US
Other names	Hitch The Master of Suspense
Occupation	Film director, film producer
Years active	1921–76
Influenced by	D. W. Griffith, Fritz Lang, Sergei Eisenstein,[1] F.W. Murnau[2]
Influenced	Brian De Palma, François Truffaut, Steven Spielberg, Martin Scorsese, Claude Chabrol, Robert Zemeckis, M. Night Shyamalan, David Lynch, Stanley Kubrick, Dario Argento, John Carpenter, Jonathan Demme, Tim Burton, Mel Brooks, David Fincher
Religion	Roman Catholic[3]
Spouse	Alma Reville (m.1926-80; his death)
Children	Patricia Hitchcock
Parents	William Hitchcock (father) Emma Jane Whelan (mother)

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)^[4] was an English film director and producer.^[5] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in British cinema in both silent films and early talkies, Hitchcock moved to Hollywood. On 19 April 1955, he became an American citizen while remaining a British subject.

Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.^[6] He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism.^[7] He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing.^[7] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.^[8] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon. Hitchocks reputation as a filmmaker is offset by claims that he engaged in obsessive and controlling behaviour towards many of his leading ladies, and that in some cases this extended to physical abuse and sexual harrassment.^[9]

Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."^[10][11] The magazine MovieMaker has described him as the most influential filmmaker of all time,^[12] and he is widely regarded as one of cinema's most significant artists.^[13]

Early life[link]

Hitchcock mosaic at Leytonstone Station

Hitchcock was born on 13 August 1899 in Leytonstone, London, England, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). Named Alfred after his father's brother, Hitchcock was raised Catholic and was sent to Salesian College (London)^[14] and the Jesuit Classic school St Ignatius' College in Stamford Hill, London.^[15][16] His mother and paternal grandmother were of Irish extraction.^[17][18] He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.^[19]

Around the age of 5, according to Hitchcock, he was sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly.^[20] This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films.^[21]

Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London.^[22] After leaving, he became a draftsman and advertising designer with a cable company called Henley's.^[23]

It was while working at Henley's that he first started to dabble creatively. Upon the formation of the company's in-house publication The Henley Telegraph in 1919, Hitchcock started to submit short articles, eventually becoming one of its most prolific contributors. His first piece was Gas (1919), published in the very first issue, in which a young woman imagines that she is being assaulted one night in Paris – only for the twist to reveal that it was all just a hallucination in the dentist's chair, induced by the anaesthetic. His second piece was The Woman's Part (1919), which involves the conflicted emotions a husband feels as he watches his wife, an actress, perform onstage.^[24] Sordid (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story And There Was No Rainbow (1920) was Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. What's Who? (1920), while being very funny, was also a precursor to the famous Abbott and Costello "Who's on First?" routine. The History of Pea Eating (1920) was a satirical disquisition on the various attempts mankind has made over the centuries to eat peas successfully. His final piece, Fedora (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma (whom he had not yet met).^[25]

During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures.^[26] In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky, and their British successor, Gainsborough Pictures,^[27] designing the titles for silent movies.^[28] His rise from title designer to film director took five years.

Inter-war British career[link]

Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger (UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the Babelsberg Studios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann (1924).^[29] He was very impressed with Murnau's work and later used many techniques for the set design in his own productions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967), Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).

Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled Number 13.^[30] The production was cancelled due to financial problems^[30] and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon^[31] of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios^[32] in Germany; the film was a commercial flop.^[33] Next, Hitchcock directed a drama called The Mountain Eagle (possibly released under the title Fear o' God in the United States). This film was also eventually lost.^[34] In 1926, Hitchcock's luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January 1927, was a major commercial and critical success in the United Kingdom.^[35] As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany.^[36] Some commentators regard this piece as the first truly "Hitchcockian"^[37][38] film, incorporating such themes as the "wrong man".^[39]

Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville, at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator, but her contributions to his films (some of which were credited on screen) Hitchcock would discuss only in private, as she was keen to avoid public attention.^[40]

In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film historians as a landmark film,^[41] and is often considered to be the first British sound feature film.^[42][43] With the climax of the film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground.^[44] In the PBS series The Men Who Made The Movies,^[45] Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder.^[46] During this period, Hitchcock directed segments for a BIP musical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, An Elastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.

In 1933, Hitchcock was once again working for Michael Balcon^[31] at Gaumont-British Picture Corporation.^[47] His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period.^[48] This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock told French director François Truffaut:

There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."^[49]

Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.^[50]

By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of Mr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be treated like cattle'."^[51]

At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.

Hollywood[link]

In Hollywood, the suspense and the gallows humour that had become Hitchcock's trademark in film continued to appear in his productions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial money problems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview, Hitchcock summarised the working relationship thus:

[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the "only director" he'd "trust with a film".^[52]

Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.^{[citation needed]}

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom,^[53] including his penultimate film, Frenzy.

With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naïve young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940.^[54] The statuette was given to Selznick, as the film's producer.^[54] The film did not win the Best Director award for Hitchcock.

There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules upon Hitchcock, forcing him to shoot the film as Selznick wanted.^{[citation needed]} At the same time, Selznick complained about Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his own film as he liked, but had to follow Hitchcock's vision of the finished product.^[55] Rebecca was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136 minutes), and Topaz (142 minutes).^[56]

Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean's Personal History and produced by Walter Wanger, was nominated for Best Picture that year. Hitchcock and many other English nationals felt uneasy living and working in Hollywood while their home country was at war, so his concern resulted in the making of the film that supported the British war effort.^[57] The movie was filmed in the first year of World War II and was inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.^[58]

1940s films[link]

Cary Grant and Ingrid Bergman in Notorious (1946)

Hitchcock's films during the 1940s were diverse, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case (1947) to the dark and disturbing film noir Shadow of a Doubt (1943).

In September 1940, the Hitchcocks purchased the 200-acre (0.81 km²) Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. Suspicion (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California, for the English coastline sequence.^[26] This film was to be actor Cary Grant's first time working with Hitchcock, and it was one of the few times that Grant would be cast in a sinister role.^[26] Joan Fontaine^[59] won Best Actress Oscar^[26] and the New York Film Critics Circle Award^[60] for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)".^{[citation needed]} In what critics regard as a classic scene^{[citation needed]}, Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is based on (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.^[61]

Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced^{[citation needed]} to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. That year he also directed Have You Heard?, a photographic dramatisation of the dangers of rumours during wartime, for Life magazine.^[62]

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films,^[63] was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential^{[citation needed]}, including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.

Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot in a small boat in the studio water tank. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".^[64]

While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China^{[citation needed]}, The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.^[65]

Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches".^[66] In the 1990s, the two films were shown by Turner Classic Movies and released on home video.

In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title Memory of the Camps.^[67][68]

Hitchcock worked for Selznick again when he directed Spellbound (1945), which explored psychoanalysis^[69] and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past.^[70] The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long,^{[citation needed]} because it proved to be too disturbing for the audience. Two point-of-view shots were achieved by constructing a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on (some copies of) the black-and-white film. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.

Grant and Bergman in Notorious (1946)

Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films^{[citation needed]}. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.^[71]

After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first colour film, Rope (1948). Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with Lifeboat (1943). Appeaering to have been shot entirely in a single take, Rope (1948) was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10-minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make with Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.

Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white films for several years. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.

1950s: Peak years[link]

James Stewart and Grace Kelly in Rear Window (1954)

Hitchcock filmed Stage Fright (1950) in the UK. For the first time, he matched one of Warner Bros.'^[72] biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.^[73]

With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director.^[74] Two men casually meet, one of whom speculates on a foolproof murder technique. He suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain.^[75]

MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.

After I Confess (1953) with Montgomery Clift, three popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution.^[76] Hitchcock experimented with 3D cinematography. The depth effect was utilised in a major way only in one key scene. The public was growing weary of 3D by the time of the film's release, however, and it was shown in 3D only in a few first-run engagements. The 3D version has been revived from time to time, including a brief reissue in some major US cities in the 1980s. The film marked a return to color productions for Hitchcock.

Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly), which screenwriter John Michael Hayes based on his own wife, and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds.^[77] As with Lifeboat and Rope, the principal characters were almost entirely confined to a small space, in this case Stewart's tiny studio apartment overlooking a massive courtyard. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".^[77]

The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired her with Cary Grant. He plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting proved a commercial success."^[78] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.

Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)", which won the Oscar for Best Original Song and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination.

James Stewart and Kim Novak in Vertigo (1958)

The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.^[79]

Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. The film contains a camera technique developed by Irmin Roberts that has been copied many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known by many nicknames, including Dolly zoom, "Zolly," "Hitchcock Zoom," and "Vertigo Effect."

Although the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and was the last collaboration between Stewart and Hitchcock.^[80] The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It was premiered in the San Sebastián International Film Festival,^[81] where Hitchcock won a Silver Seashell.

Cary Grant in North by Northwest (1959)

By this time, Hitchcock had filmed in many areas of the United States.^[82] He followed Vertigo with three more successful films. Two are also recognised as among his best movies: North by Northwest (1959) and Psycho (1960). The third film was The Birds (1963).

In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent.^[83] He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint), in fact working undercover.

From 1960[link]

Psycho is almost certainly Hitchcock's best-known film.^[84] Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set.^[85] The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films.^[86] After completing Psycho, Hitchcock moved to Universal, where he made the remainder of his films.

The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film.^[87] He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".^[88]

The latter two films had unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho were unusually dissonant, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by schoolchildren (just prior to the attack at the Bodega Bay School). These films are considered his last great films, after which critical opinion was usually against his new films, although some critics, such as Robin Wood and Donald Spoto, contend that Marnie (1964) is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked.