Birds (class Aves) are feathered, winged, bipedal, endothermic (warm-blooded), egg-laying, vertebrate animals. Around 10,000 living species makes them the most speciose class of tetrapod vertebrates. They inhabit ecosystems across the globe, from the Arctic to the Antarctic. Extant birds range in size from the Bee Hummingbird to the Ostrich. The fossil record indicates birds evolved from theropod dinosaurs during the Jurassic period, around 160 million years (Ma) ago. Paleontologists regard birds as the only clade of dinosaurs to have survived the Cretaceous–Paleogene extinction event 65.5 Ma ago.

Modern birds are characterised by feathers, a beak with no teeth, the laying of hard-shelled eggs, a high metabolic rate, a four-chambered heart, and a lightweight but strong skeleton. All living species of birds have wings—the now extinct flightless Moa of New Zealand was the only exception. Wings are evolved forelimbs, and most bird species can fly, with some exceptions, including ratites, penguins, and a number of diverse endemic island species. Birds also have unique digestive and respiratory systems that are highly adapted for flight. Some birds, especially corvids and parrots, are among the most intelligent animal species; a number of bird species have been observed manufacturing and using tools, and many social species exhibit cultural transmission of knowledge across generations.

Many species undertake long distance annual migrations, and many more perform shorter irregular movements. Birds are social; they communicate using visual signals and through calls and songs, and participate in social behaviours, including cooperative breeding and hunting, flocking, and mobbing of predators. The vast majority of bird species are socially monogamous, usually for one breeding season at a time, sometimes for years, but rarely for life. Other species have polygynous ("many females") or, rarely, polyandrous ("many males") breeding systems. Eggs are usually laid in a nest and incubated by the parents. Most birds have an extended period of parental care after hatching.

Many species are of economic importance, mostly as sources of food acquired through hunting or farming. Some species, particularly songbirds and parrots, are popular as pets. Other uses include the harvesting of guano (droppings) for use as a fertiliser. Birds figure prominently in all aspects of human culture from religion to poetry to popular music. About 120–130 species have become extinct as a result of human activity since the 17th century, and hundreds more before then. Currently about 1,200 species of birds are threatened with extinction by human activities, though efforts are underway to protect them.

Evolution and taxonomy

The first classification of birds was developed by Francis Willughby and John Ray in their 1676 volume Ornithologiae. Carolus Linnaeus modified that work in 1758 to devise the taxonomic classification system currently in use. Birds are categorised as the biological class Aves in Linnaean taxonomy. Phylogenetic taxonomy places Aves in the dinosaur clade Theropoda. Aves and a sister group, the clade Crocodilia, contain the only living representatives of the reptile clade Archosauria. During the late 20th century, Aves was commonly defined phylogenetically as all descendants of the most recent common ancestor of modern birds and Archaeopteryx lithographica. However, an alternate definition proposed by scientists including Jacques Gauthier and adherents of the Phylocode system defined Aves to include only the modern bird groups, the crown group. This was done by excluding most groups known only from fossils, and assigning them, instead, to the Avialae, in part to avoid the uncertainties about the placement of Archaeopteryx in relation to animals traditionally thought of as theropod dinosaurs.

All modern birds lie within the crown group Aves (alternately Neornithes), which has two subdivisions: the Palaeognathae, which includes the flightless ratites (such as the ostriches) and the weak-flying tinamous, and the extremely diverse Neognathae, containing all other birds. These two subdivisions are often given the rank of superorder, although Livezey and Zusi assigned them "cohort" rank. Depending on the taxonomic viewpoint, the number of known living bird species varies anywhere from 9,800 to 10,050.

Dinosaurs and the origin of birds

Based on fossil and biological evidence, most scientists accept that birds are a specialized subgroup of theropod dinosaurs. More specifically, they are members of Maniraptora, a group of theropods which includes dromaeosaurs and oviraptorids, among others. As scientists discover more nonavian theropods closely related to birds, the previously clear distinction between nonbirds and birds has become blurred. Recent discoveries in the Liaoning Province of northeast China, which demonstrate many small theropod dinosaurs had feathers, contribute to this ambiguity.

The consensus view in contemporary paleontology is that the birds, or avialans, are the closest relatives of the deinonychosaurs, which include dromaeosaurids, troodontids and possibly archaeopterygids. Together, these three form a group called Paraves. Some basal members of this group, such as Microraptor and Archaeopteryx, have features which may have enabled them to glide or fly. The most basal deinonychosaurs are very small. This evidence raises the possibility that the ancestor of all paravians may have been arboreal, may have been able to glide, or both. Unlike Archaeopteryx and the feathered dinosaurs, who primarily ate meat, recent studies suggest that the first birds were herbivores.

The Late Jurassic Archaeopteryx is well known as one of the first transitional fossils to be found, and it provided support for the theory of evolution in the late 19th century. Archaeopteryx was the first fossil to display both clearly reptilian characteristics: teeth, clawed fingers, and a long, lizard-like tail, as well as wings with flight feathers identical to those of modern birds. It is not considered a direct ancestor of modern birds, though it is possibly closely related to the real ancestor.

Alternative theories and controversies

There have been many controversies in the study of the origin of birds. Early disagreements included whether birds evolved from dinosaurs or more primitive archosaurs. Within the dinosaur camp, there were disagreements as to whether ornithischian or theropod dinosaurs were the more likely ancestors. Although ornithischian (bird-hipped) dinosaurs share the hip structure of modern birds, birds are thought to have originated from the saurischian (lizard-hipped) dinosaurs, and therefore evolved their hip structure independently. In fact, a bird-like hip structure evolved a third time among a peculiar group of theropods known as the Therizinosauridae.

A small minority of researchers, such as paleornithologist Alan Feduccia of the University of North Carolina, challenge the majority view, contending that birds are not dinosaurs, but evolved from early archosaurs like Longisquama.

Early evolution of birds

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Basal bird phylogeny simplified after Chiappe, 2007 Birds diversified into a wide variety of forms during the Cretaceous Period. Many groups retained primitive characteristics, such as clawed wings and teeth, though the latter were lost independently in a number of bird groups, including modern birds (Neornithes). While the earliest forms, such as Archaeopteryx and Jeholornis, retained the long bony tails of their ancestors, the tails of more advanced birds were shortened with the advent of the pygostyle bone in the clade Pygostylia.

The first large, diverse lineage of short-tailed birds to evolve were the Enantiornithes, or "opposite birds", so named because the construction of their shoulder bones was in reverse to that of modern birds. Enantiornithes occupied a wide array of ecological niches, from sand-probing shorebirds and fish-eaters to tree-dwelling forms and seed-eaters. More advanced lineages also specialised in eating fish, like the superficially gull-like subclass of Ichthyornithes (fish birds).

One order of Mesozoic seabirds, the Hesperornithiformes, became so well adapted to hunting fish in marine environments, they lost the ability to fly and became primarily aquatic. Despite their extreme specializations, the Hesperornithiformes represent some of the closest relatives of modern birds.

Diversification of modern birds

Containing all modern birds, the subclass Neornithes is, due to the discovery of Vegavis, now known to have evolved into some basic lineages by the end of the Cretaceous and is split into two superorders, the Palaeognathae and Neognathae. The paleognaths include the tinamous of Central and South America and the ratites. The basal divergence from the remaining Neognathes was that of the Galloanserae, the superorder containing the Anseriformes (ducks, geese, swans and screamers) and the Galliformes (the pheasants, grouse, and their allies, together with the mound builders and the guans and their allies). The dates for the splits are much debated by scientists. The Neornithes are agreed to have evolved in the Cretaceous, and the split between the Galloanseri from other Neognathes occurred before the K–T extinction event, but there are different opinions about whether the radiation of the remaining Neognathes occurred before or after the extinction of the other dinosaurs. This disagreement is in part caused by a divergence in the evidence; molecular dating suggests a Cretaceous radiation, while fossil evidence supports a Tertiary radiation. Attempts to reconcile the molecular and fossil evidence have proved controversial.

The classification of birds is a contentious issue. Sibley and Ahlquist's Phylogeny and Classification of Birds (1990) is a landmark work on the classification of birds, although it is frequently debated and constantly revised. Most evidence seems to suggest the assignment of orders is accurate, but scientists disagree about the relationships between the orders themselves; evidence from modern bird anatomy, fossils and DNA have all been brought to bear on the problem, but no strong consensus has emerged. More recently, new fossil and molecular evidence is providing an increasingly clear picture of the evolution of modern bird orders.

===Modern bird orders: Classification=== |label2= Neognathae  |2= }} }} }}

Basal divergences of modern birdsbased on Sibley-Ahlquist taxonomy

This is a list of the taxonomic orders in the subclass Neornithes, or modern birds. This list uses the traditional classification (the so-called Clements order), revised by the Sibley-Monroe classification. The list of birds gives a more detailed summary of the orders, including families.

Subclass Neornithes The subclass Neornithes has two extant superorders –

Superorder Palaeognathae:

The name of the superorder is derived from paleognath, the ancient Greek for "old jaws" in reference to the skeletal anatomy of the palate, which is described as more primitive and reptilian than that in other birds. The Palaeognathae consists of two orders which comprise 49 existing species.

Struthioniformes—ostriches, emus, kiwis, and allies

Tinamiformes—tinamous

Superorder Neognathae:

The superorder Neognathae comprises 27 orders which have a total of nearly ten thousand species. The Neognathae have undergone adaptive radiation to produce the staggering diversity of form (especially of the bill and feet), function, and behavior that are seen today.

The orders comprising the Neognathae are:

Anseriformes—waterfowl

Galliformes—fowl

Charadriiformes—gulls, button-quails, plovers and allies

Gaviiformes—loons

Podicipediformes—grebes

Procellariiformes—albatrosses, petrels, and allies

Sphenisciformes—penguins

Pelecaniformes—pelicans and allies

Phaethontiformes—tropicbirds

Ciconiiformes—storks and allies

Cathartiformes—New World vultures

Phoenicopteriformes—flamingos

Falconiformes—falcons, eagles, hawks and allies

Gruiformes—cranes and allies

Pteroclidiformes—sandgrouse

Columbiformes—doves and pigeons

Psittaciformes—parrots and allies

Cuculiformes—cuckoos and turacos

Opisthocomiformes—hoatzin

Strigiformes—owls

Caprimulgiformes—nightjars and allies

Apodiformes—swifts and hummingbirds

Coraciiformes—kingfishers and allies

Piciformes—woodpeckers and allies

Trogoniformes—trogons

Coliiformes—mousebirds

Passeriformes—passerines

The radically different Sibley-Monroe classification (Sibley-Ahlquist taxonomy), based on molecular data, found widespread adoption in a few aspects, as recent molecular, fossil, and anatomical evidence supported the Galloanserae.

Distribution

Birds live and breed in most terrestrial habitats and on all seven continents, reaching their southern extreme in the Snow Petrel's breeding colonies up to inland in Antarctica. The highest bird diversity occurs in tropical regions. It was earlier thought that this high diversity was the result of higher speciation rates in the tropics, however recent studies found higher speciation rates in the high latitudes that were offset by greater extinction rates than in the tropics. Several families of birds have adapted to life both on the world's oceans and in them, with some seabird species coming ashore only to breed and some penguins have been recorded diving up to .

Many bird species have established breeding populations in areas to which they have been introduced by humans. Some of these introductions have been deliberate; the Ring-necked Pheasant, for example, has been introduced around the world as a game bird. Others have been accidental, such as the establishment of wild Monk Parakeets in several North American cities after their escape from captivity. Some species, including Cattle Egret, Yellow-headed Caracara and Galah, have spread naturally far beyond their original ranges as agricultural practices created suitable new habitat.

Anatomy and physiology

Compared with other vertebrates, birds have a body plan that shows many unusual adaptations, mostly to facilitate flight.

The skeleton consists of very lightweight bones. They have large air-filled cavities (called pneumatic cavities) which connect with the respiratory system. The skull bones in adults are fused and do not show cranial sutures. The orbits are large and separated by a bony septum. The spine has cervical, thoracic, lumbar and caudal regions with the number of cervical (neck) vertebrae highly variable and especially flexible, but movement is reduced in the anterior thoracic vertebrae and absent in the later vertebrae. The last few are fused with the pelvis to form the synsacrum. The ribs are flattened and the sternum is keeled for the attachment of flight muscles except in the flightless bird orders. The forelimbs are modified into wings.

Like the reptiles, birds are primarily uricotelic, that is, their kidneys extract nitrogenous wastes from their bloodstream and excrete it as uric acid instead of urea or ammonia via the ureters into the intestine. Birds do not have a urinary bladder or external urethral opening and (with exception of the Ostrich) uric acid is excreted along with feces as a semisolid waste. However, birds such as hummingbirds can be facultatively ammonotelic, excreting most of the nitrogenous wastes as ammonia. They also excrete creatine, rather than creatinine like mammals. This material, as well as the output of the intestines, emerges from the bird's cloaca. The cloaca is a multi-purpose opening: waste is expelled through it, birds mate by joining cloaca, and females lay eggs from it. In addition, many species of birds regurgitate pellets. The digestive system of birds is unique, with a crop for storage and a gizzard that contains swallowed stones for grinding food to compensate for the lack of teeth. Most birds are highly adapted for rapid digestion to aid with flight. Some migratory birds have adapted to use protein from many parts of their bodies, including protein from the intestines, as additional energy during migration.

Birds have one of the most complex respiratory systems of all animal groups. Upon inhalation, 75% of the fresh air bypasses the lungs and flows directly into a posterior air sac which extends from the lungs and connects with air spaces in the bones and fills them with air. The other 25% of the air goes directly into the lungs. When the bird exhales, the used air flows out of the lung and the stored fresh air from the posterior air sac is simultaneously forced into the lungs. Thus, a bird's lungs receive a constant supply of fresh air during both inhalation and exhalation. Sound production is achieved using the syrinx, a muscular chamber incorporating multiple tympanic membranes which diverges from the lower end of the trachea. The bird's heart has four chambers and the right aortic arch gives rise to systemic circulation (unlike in the mammals where the left arch is involved). The postcava receives blood from the limbs via the renal portal system. Unlike in mammals, the red blood cells in birds have a nucleus.

The nervous system is large relative to the bird's size. The most developed part of the brain is the one that controls the flight-related functions, while the cerebellum coordinates movement and the cerebrum controls behaviour patterns, navigation, mating and nest building. Most birds have a poor sense of smell with notable exceptions including kiwis, New World vultures and tubenoses. The avian visual system is usually highly developed. Water birds have special flexible lenses, allowing accommodation for vision in air and water. Some species also have dual fovea. Birds are tetrachromatic, possessing ultraviolet (UV) sensitive cone cells in the eye as well as green, red and blue ones. This allows them to perceive ultraviolet light, which is involved in courtship. Many birds show plumage patterns in ultraviolet that are invisible to the human eye; some birds whose sexes appear similar to the naked eye are distinguished by the presence of ultraviolet reflective patches on their feathers. Male Blue Tits have an ultraviolet reflective crown patch which is displayed in courtship by posturing and raising of their nape feathers. Ultraviolet light is also used in foraging—kestrels have been shown to search for prey by detecting the UV reflective urine trail marks left on the ground by rodents. The eyelids of a bird are not used in blinking. Instead the eye is lubricated by the nictitating membrane, a third eyelid that moves horizontally. The nictitating membrane also covers the eye and acts as a contact lens in many aquatic birds. The bird retina has a fan shaped blood supply system called the pecten. Most birds cannot move their eyes, although there are exceptions, such as the Great Cormorant. Birds with eyes on the sides of their heads have a wide visual field, while birds with eyes on the front of their heads, such as owls, have binocular vision and can estimate the depth of field. The avian ear lacks external pinnae but is covered by feathers, although in some birds, such as the Asio, Bubo and Otus owls, these feathers form tufts which resemble ears. The inner ear has a cochlea, but it is not spiral as in mammals.

A few species are able to use chemical defenses against predators; some Procellariiformes can eject an unpleasant oil against an aggressor, and some species of pitohuis from New Guinea have a powerful neurotoxin in their skin and feathers.

Chromosomes

Birds have two sexes: male and female. The sex of birds is determined by the Z and W sex chromosomes, rather than by the X and Y chromosomes present in mammals. Male birds have two Z chromosomes (ZZ), and female birds have a W chromosome and a Z chromosome (WZ).

In nearly all species of birds, an individual's sex is determined at fertilization. However, one recent study demonstrated temperature-dependent sex determination among Australian Brush-turkeys, for which higher temperatures during incubation resulted in a higher female-to-male sex ratio.

Feathers, plumage, and scales

Feathers are a feature characteristic of birds (though also present in some dinosaurs not currently considered to be true birds). They facilitate flight, provide insulation that aids in thermoregulation, and are used in display, camouflage, and signaling. There are several types of feathers, each serving its own set of purposes. Feathers are epidermal growths attached to the skin and arise only in specific tracts of skin called pterylae. The distribution pattern of these feather tracts (pterylosis) is used in taxonomy and systematics. The arrangement and appearance of feathers on the body, called plumage, may vary within species by age, social status, and sex.

Plumage is regularly moulted; the standard plumage of a bird that has moulted after breeding is known as the "non-breeding" plumage, or—in the Humphrey-Parkes terminology—"basic" plumage; breeding plumages or variations of the basic plumage are known under the Humphrey-Parkes system as "alternate" plumages. Moulting is annual in most species, although some may have two moults a year, and large birds of prey may moult only once every few years. Moulting patterns vary across species. In passerines, flight feathers are replaced one at a time with the innermost primary being the first. When the fifth of sixth primary is replaced, the outermost tertiaries begin to drop. After the innermost tertiaries are moulted, the secondaries starting from the innermost begin to drop and this proceeds to the outer feathers (centrifugal moult). The greater primary coverts are moulted in synchrony with the primary that they overlap. A small number of species, such as ducks and geese, lose all of their flight feathers at once, temporarily becoming flightless. As a general rule, the tail feathers are moulted and replaced starting with the innermost pair. Centripetal moults of tail feathers are however seen in the Phasianidae. The centrifugal moult is modified in the tail feathers of woodpeckers and treecreepers, in that it begins with the second innermost pair of feathers and finishes with the central pair of feathers so that the bird maintains a functional climbing tail. The general pattern seen in passerines is that the primaries are replaced outward, secondaries inward, and the tail from center outward. Before nesting, the females of most bird species gain a bare brood patch by losing feathers close to the belly. The skin there is well supplied with blood vessels and helps the bird in incubation. Feathers require maintenance and birds preen or groom them daily, spending an average of around 9% of their daily time on this. The bill is used to brush away foreign particles and to apply waxy secretions from the uropygial gland; these secretions protect the feathers' flexibility and act as an antimicrobial agent, inhibiting the growth of feather-degrading bacteria. This may be supplemented with the secretions of formic acid from ants, which birds receive through a behaviour known as anting, to remove feather parasites.

The scales of birds are composed of the same keratin as beaks, claws, and spurs. They are found mainly on the toes and metatarsus, but may be found further up on the ankle in some birds. Most bird scales do not overlap significantly, except in the cases of kingfishers and woodpeckers. The scales of birds are thought to be homologous to those of reptiles and mammals.

Flight

Most birds can fly, which distinguishes them from almost all other vertebrate classes. Flight is the primary means of locomotion for most bird species and is used for breeding, feeding, and predator avoidance and escape. Birds have various adaptations for flight, including a lightweight skeleton, two large flight muscles, the pectoralis (which accounts for 15% of the total mass of the bird) and the supracoracoideus, as well as a modified forelimb (wing) that serves as an aerofoil. Wing shape and size generally determine a bird species' type of flight; many birds combine powered, flapping flight with less energy-intensive soaring flight. About 60 extant bird species are flightless, as were many extinct birds. Flightlessness often arises in birds on isolated islands, probably due to limited resources and the absence of land predators. Though flightless, penguins use similar musculature and movements to "fly" through the water, as do auks, shearwaters and dippers.

Behaviour

Most birds are diurnal, but some birds, such as many species of owls and nightjars, are nocturnal or crepuscular (active during twilight hours), and many coastal waders feed when the tides are appropriate, by day or night.

Diet and feeding

Birds' diets are varied and often include nectar, fruit, plants, seeds, carrion, and various small animals, including other birds. Because birds have no teeth, their digestive system is adapted to process unmasticated food items that are swallowed whole.

Birds that employ many strategies to obtain food or feed on a variety of food items are called generalists, while others that concentrate time and effort on specific food items or have a single strategy to obtain food are considered specialists. Birds' feeding strategies vary by species. Many birds glean for insects, invertebrates, fruit, or seeds. Some hunt insects by suddenly attacking from a branch. Those species that seek pest insects are considered beneficial 'biological control agents' and their presence encouraged in biological pest control programs. Nectar feeders such as hummingbirds, sunbirds, lories, and lorikeets amongst others have specially adapted brushy tongues and in many cases bills designed to fit co-adapted flowers. Kiwis and shorebirds with long bills probe for invertebrates; shorebirds' varied bill lengths and feeding methods result in the separation of ecological niches. Loons, diving ducks, penguins and auks pursue their prey underwater, using their wings or feet for propulsion, while aerial predators such as sulids, kingfishers and terns plunge dive after their prey. Flamingos, three species of prion, and some ducks are filter feeders. Geese and dabbling ducks are primarily grazers.

Some species, including frigatebirds, gulls, and skuas, engage in kleptoparasitism, stealing food items from other birds. Kleptoparasitism is thought to be a supplement to food obtained by hunting, rather than a significant part of any species' diet; a study of Great Frigatebirds stealing from Masked Boobies estimated that the frigatebirds stole at most 40% of their food and on average stole only 5%. Other birds are scavengers; some of these, like vultures, are specialised carrion eaters, while others, like gulls, corvids, or other birds of prey, are opportunists.

Water and drinking

Water is needed by many birds although their mode of excretion and lack of sweat glands reduces the physiological demands. Some desert birds can obtain their water needs entirely from moisture in their food. They may also have other adaptations such as allowing their body temperature to rise, saving on moisture loss from evaporative cooling or panting. Seabirds can drink seawater and have salt glands inside the head that eliminate excess salt out of the nostrils.

Most birds scoop water in their beaks and raise their head to let water run down the throat. Some species, especially of arid zones, belonging to the pigeon, finch, mousebird, button-quail and bustard families are capable of sucking up water without the need to tilt back their heads. Some desert birds depend on water sources and sandgrouse are particularly well known for their daily congregations at waterholes. Nesting sandgrouse and many plovers carry water to their young by wetting their belly feathers. Some birds carry water for chicks at the nest in their crop or regurgitate it along with food. The pigeon family, flamingos and penguins have adaptations to produce a nutritive fluid called crop milk that they provide to their chicks.

Migration

Many bird species migrate to take advantage of global differences of seasonal temperatures, therefore optimising availability of food sources and breeding habitat. These migrations vary among the different groups. Many landbirds, shorebirds, and waterbirds undertake annual long distance migrations, usually triggered by the length of daylight as well as weather conditions. These birds are characterised by a breeding season spent in the temperate or arctic/antarctic regions and a non-breeding season in the tropical regions or opposite hemisphere. Before migration, birds substantially increase body fats and reserves and reduce the size of some of their organs. Migration is highly demanding energetically, particularly as birds need to cross deserts and oceans without refuelling. Landbirds have a flight range of around and shorebirds can fly up to , although the Bar-tailed Godwit is capable of non-stop flights of up to . Seabirds also undertake long migrations, the longest annual migration being those of Sooty Shearwaters, which nest in New Zealand and Chile and spend the northern summer feeding in the North Pacific off Japan, Alaska and California, an annual round trip of . Other seabirds disperse after breeding, travelling widely but having no set migration route. Albatrosses nesting in the Southern Ocean often undertake circumpolar trips between breeding seasons.

Some bird species undertake shorter migrations, travelling only as far as is required to avoid bad weather or obtain food. Irruptive species such as the boreal finches are one such group and can commonly be found at a location in one year and absent the next. This type of migration is normally associated with food availability. Species may also travel shorter distances over part of their range, with individuals from higher latitudes travelling into the existing range of conspecifics; others undertake partial migrations, where only a fraction of the population, usually females and subdominant males, migrates. Partial migration can form a large percentage of the migration behaviour of birds in some regions; in Australia, surveys found that 44% of non-passerine birds and 32% of passerines were partially migratory. Altitudinal migration is a form of short distance migration in which birds spend the breeding season at higher altitudes elevations and move to lower ones during suboptimal conditions. It is most often triggered by temperature changes and usually occurs when the normal territories also become inhospitable due to lack of food. Some species may also be nomadic, holding no fixed territory and moving according to weather and food availability. Parrots as a family are overwhelmingly neither migratory nor sedentary but considered to either be dispersive, irruptive, nomadic or undertake small and irregular migrations.

The ability of birds to return to precise locations across vast distances has been known for some time; in an experiment conducted in the 1950s a Manx Shearwater released in Boston returned to its colony in Skomer, Wales, within 13 days, a distance of . Birds navigate during migration using a variety of methods. For diurnal migrants, the sun is used to navigate by day, and a stellar compass is used at night. Birds that use the sun compensate for the changing position of the sun during the day by the use of an internal clock. Orientation with the stellar compass depends on the position of the constellations surrounding Polaris. These are backed up in some species by their ability to sense the Earth's geomagnetism through specialised photoreceptors.

Communication

Birds communicate using primarily visual and auditory signals. Signals can be interspecific (between species) and intraspecific (within species).

Birds sometimes use plumage to assess and assert social dominance, to display breeding condition in sexually selected species, or to make threatening displays, as in the Sunbittern's mimicry of a large predator to ward off hawks and protect young chicks. Variation in plumage also allows for the identification of birds, particularly between species. Visual communication among birds may also involve ritualised displays, which have developed from non-signalling actions such as preening, the adjustments of feather position, pecking, or other behaviour. These displays may signal aggression or submission or may contribute to the formation of pair-bonds. The most elaborate displays occur during courtship, where "dances" are often formed from complex combinations of many possible component movements; males' breeding success may depend on the quality of such displays.

Bird calls and songs, which are produced in the syrinx, are the major means by which birds communicate with sound. This communication can be very complex; some species can operate the two sides of the syrinx independently, allowing the simultaneous production of two different songs. Calls are used for a variety of purposes, including mate attraction, evaluation of potential mates, bond formation, the claiming and maintenance of territories, the identification of other individuals (such as when parents look for chicks in colonies or when mates reunite at the start of breeding season), and the warning of other birds of potential predators, sometimes with specific information about the nature of the threat. Some birds also use mechanical sounds for auditory communication. The Coenocorypha snipes of New Zealand drive air through their feathers, woodpeckers drum territorially, and Palm Cockatoos use tools to drum.

Flocking and other associations

While some birds are essentially territorial or live in small family groups, other birds may form large flocks. The principal benefits of flocking are safety in numbers and increased foraging efficiency. Defence against predators is particularly important in closed habitats like forests, where ambush predation is common and multiple eyes can provide a valuable early warning system. This has led to the development of many mixed-species feeding flocks, which are usually composed of small numbers of many species; these flocks provide safety in numbers but reduce potential competition for resources. Costs of flocking include bullying of socially subordinate birds by more dominant birds and the reduction of feeding efficiency in certain cases.

Birds sometimes also form associations with non-avian species. Plunge-diving seabirds associate with dolphins and tuna, which push shoaling fish towards the surface. Hornbills have a mutualistic relationship with Dwarf Mongooses, in which they forage together and warn each other of nearby birds of prey and other predators.

===Resting and roosting===

The high metabolic rates of birds during the active part of the day is supplemented by rest at other times. Sleeping birds often use a type of sleep known as vigilant sleep, where periods of rest are interspersed with quick eye-opening 'peeks', allowing them to be sensitive to disturbances and enable rapid escape from threats. Swifts are believed to be able to sleep in flight and radar observations suggest that they orient themselves to face the wind in their roosting flight. It has been suggested that there may be certain kinds of sleep which are possible even when in flight. Some birds have also demonstrated the capacity to fall into slow-wave sleep one hemisphere of the brain at a time. The birds tend to exercise this ability depending upon its position relative to the outside of the flock. This may allow the eye opposite the sleeping hemisphere to remain vigilant for predators by viewing the outer margins of the flock. This adaptation is also known from marine mammals. Communal roosting is common because it lowers the loss of body heat and decreases the risks associated with predators. Roosting sites are often chosen with regard to thermoregulation and safety.

Many sleeping birds bend their heads over their backs and tuck their bills in their back feathers, although others place their beaks among their breast feathers. Many birds rest on one leg, while some may pull up their legs into their feathers, especially in cold weather. Perching birds have a tendon locking mechanism that helps them hold on to the perch when they are asleep. Many ground birds, such as quails and pheasants, roost in trees. A few parrots of the genus Loriculus roost hanging upside down. Some hummingbirds go into a nightly state of torpor accompanied with a reduction of their metabolic rates. This physiological adaptation shows in nearly a hundred other species, including owlet-nightjars, nightjars, and woodswallows. One species, the Common Poorwill, even enters a state of hibernation. Birds do not have sweat glands, but they may cool themselves by moving to shade, standing in water, panting, increasing their surface area, fluttering their throat or by using special behaviours like urohidrosis to cool themselves.

Breeding

Social systems

Ninety-five percent of bird species are socially monogamous. These species pair for at least the length of the breeding season or—in some cases—for several years or until the death of one mate. Monogamy allows for biparental care, which is especially important for species in which females require males' assistance for successful brood-rearing. Among many socially monogamous species, extra-pair copulation (infidelity) is common. Such behaviour typically occurs between dominant males and females paired with subordinate males, but may also be the result of forced copulation in ducks and other anatids. For females, possible benefits of extra-pair copulation include getting better genes for her offspring and insuring against the possibility of infertility in her mate. Males of species that engage in extra-pair copulations will closely guard their mates to ensure the parentage of the offspring that they raise.

Other mating systems, including polygyny, polyandry, polygamy, polygynandry, and promiscuity, also occur. Polygamous breeding systems arise when females are able to raise broods without the help of males. Some species may use more than one system depending on the circumstances.

Breeding usually involves some form of courtship display, typically performed by the male. Most displays are rather simple and involve some type of song. Some displays, however, are quite elaborate. Depending on the species, these may include wing or tail drumming, dancing, aerial flights, or communal lekking. Females are generally the ones that drive partner selection, although in the polyandrous phalaropes, this is reversed: plainer males choose brightly coloured females. Courtship feeding, billing and allopreening are commonly performed between partners, generally after the birds have paired and mated.

Homosexual behaviour has been observed in males or females in numerous species of birds, including copulation, pair-bonding, and joint parenting of chicks.

Territories, nesting and incubation

Many birds actively defend a territory from others of the same species during the breeding season; maintenance of territories protects the food source for their chicks. Species that are unable to defend feeding territories, such as seabirds and swifts, often breed in colonies instead; this is thought to offer protection from predators. Colonial breeders defend small nesting sites, and competition between and within species for nesting sites can be intense.

All birds lay amniotic eggs with hard shells made mostly of calcium carbonate. Hole and burrow nesting species tend to lay white or pale eggs, while open nesters lay camouflaged eggs. There are many exceptions to this pattern, however; the ground-nesting nightjars have pale eggs, and camouflage is instead provided by their plumage. Species that are victims of brood parasites have varying egg colours to improve the chances of spotting a parasite's egg, which forces female parasites to match their eggs to those of their hosts. Bird eggs are usually laid in a nest. Most species create somewhat elaborate nests, which can be cups, domes, plates, beds scrapes, mounds, or burrows. Some bird nests, however, are extremely primitive; albatross nests are no more than a scrape on the ground. Most birds build nests in sheltered, hidden areas to avoid predation, but large or colonial birds—which are more capable of defence—may build more open nests. During nest construction, some species seek out plant matter from plants with parasite-reducing toxins to improve chick survival, and feathers are often used for nest insulation. Some bird species have no nests; the cliff-nesting Common Guillemot lays its eggs on bare rock, and male Emperor Penguins keep eggs between their body and feet. The absence of nests is especially prevalent in ground-nesting species where the newly hatched young are precocial.

Incubation, which optimises temperature for chick development, usually begins after the last egg has been laid. In monogamous species incubation duties are often shared, whereas in polygamous species one parent is wholly responsible for incubation. Warmth from parents passes to the eggs through brood patches, areas of bare skin on the abdomen or breast of the incubating birds. Incubation can be an energetically demanding process; adult albatrosses, for instance, lose as much as of body weight per day of incubation. The warmth for the incubation of the eggs of megapodes comes from the sun, decaying vegetation or volcanic sources. Incubation periods range from 10 days (in woodpeckers, cuckoos and passerine birds) to over 80 days (in albatrosses and kiwis).

Parental care and fledging

At the time of their hatching, chicks range in development from helpless to independent, depending on their species. Helpless chicks are termed altricial, and tend to be born small, blind, immobile and naked; chicks that are mobile and feathered upon hatching are termed precocial. Altricial chicks need help thermoregulating and must be brooded for longer than precocial chicks. Chicks at neither of these extremes can be semi-precocial or semi-altricial.

The length and nature of parental care varies widely amongst different orders and species. At one extreme, parental care in megapodes ends at hatching; the newly hatched chick digs itself out of the nest mound without parental assistance and can fend for itself immediately. At the other extreme, many seabirds have extended periods of parental care, the longest being that of the Great Frigatebird, whose chicks take up to six months to fledge and are fed by the parents for up to an additional 14 months.

In some species, both parents care for nestlings and fledglings; in others, such care is the responsibility of only one sex. In some species, other members of the same species—usually close relatives of the breeding pair, such as offspring from previous broods—will help with the raising of the young. Such alloparenting is particularly common among the Corvida, which includes such birds as the true crows, Australian Magpie and Fairy-wrens, but has been observed in species as different as the Rifleman and Red Kite. Among most groups of animals, male parental care is rare. In birds, however, it is quite common—more so than in any other vertebrate class. Though territory and nest site defence, incubation, and chick feeding are often shared tasks, there is sometimes a division of labour in which one mate undertakes all or most of a particular duty.

The point at which chicks fledge varies dramatically. The chicks of the Synthliboramphus murrelets, like the Ancient Murrelet, leave the nest the night after they hatch, following their parents out to sea, where they are raised away from terrestrial predators. Some other species, such as ducks, move their chicks away from the nest at an early age. In most species, chicks leave the nest just before, or soon after, they are able to fly. The amount of parental care after fledging varies; albatross chicks leave the nest on their own and receive no further help, while other species continue some supplementary feeding after fledging. Chicks may also follow their parents during their first migration.

Brood parasites

Brood parasitism, in which an egg-layer leaves her eggs with another individual's brood, is more common among birds than any other type of organism. After a parasitic bird lays her eggs in another bird's nest, they are often accepted and raised by the host at the expense of the host's own brood. Brood parasites may be either obligate brood parasites, which must lay their eggs in the nests of other species because they are incapable of raising their own young, or non-obligate brood parasites, which sometimes lay eggs in the nests of conspecifics to increase their reproductive output even though they could have raised their own young. One hundred bird species, including honeyguides, icterids, estrildid finches and ducks, are obligate parasites, though the most famous are the cuckoos. Some brood parasites are adapted to hatch before their host's young, which allows them to destroy the host's eggs by pushing them out of the nest or to kill the host's chicks; this ensures that all food brought to the nest will be fed to the parasitic chicks.

Ecology

Birds occupy a wide range of ecological positions. While some birds are generalists, others are highly specialised in their habitat or food requirements. Even within a single habitat, such as a forest, the niches occupied by different species of birds vary, with some species feeding in the forest canopy, others beneath the canopy, and still others on the forest floor. Forest birds may be insectivores, frugivores, and nectarivores. Aquatic birds generally feed by fishing, plant eating, and piracy or kleptoparasitism. Birds of prey specialise in hunting mammals or other birds, while vultures are specialised scavengers. Avivores are animals that are specialized at predating birds.

Some nectar-feeding birds are important pollinators, and many frugivores play a key role in seed dispersal. Plants and pollinating birds often coevolve, and in some cases a flower's primary pollinator is the only species capable of reaching its nectar.

Birds are often important to island ecology. Birds have frequently reached islands that mammals have not; on those islands, birds may fulfill ecological roles typically played by larger animals. For example, in New Zealand the moas were important browsers, as are the Kereru and Kokako today. Today the plants of New Zealand retain the defensive adaptations evolved to protect them from the extinct moa. Nesting seabirds may also affect the ecology of islands and surrounding seas, principally through the concentration of large quantities of guano, which may enrich the local soil and the surrounding seas.

A wide variety of Avian ecology field methods, including counts, nest monitoring, and capturing and marking, are used for researching avian ecology.

Relationship with humans

Since birds are highly visible and common animals, humans have had a relationship with them since the dawn of man. Sometimes, these relationships are mutualistic, like the cooperative honey-gathering among honeyguides and African peoples such as the Borana. Other times, they may be commensal, as when species such as the House Sparrow have benefited from human activities. Several bird species have become commercially significant agricultural pests, and some pose an aviation hazard. Human activities can also be detrimental, and have threatened numerous bird species with extinction (hunting, avian lead poisoning, pesticides, roadkill, and predation by pet cats and dogs are common sources of death for birds).

Birds can act as vectors for spreading diseases such as psittacosis, salmonellosis, campylobacteriosis, mycobacteriosis (avian tuberculosis), avian influenza (bird flu), giardiasis, and cryptosporidiosis over long distances. Some of these are zoonotic diseases that can also be transmitted to humans.

Economic importance

Domesticated birds raised for meat and eggs, called poultry, are the largest source of animal protein eaten by humans; in 2003, tons of poultry and tons of eggs were produced worldwide. Chickens account for much of human poultry consumption, though turkeys, ducks, and geese are also relatively common. Many species of birds are also hunted for meat. Bird hunting is primarily a recreational activity except in extremely undeveloped areas. The most important birds hunted in North and South America are waterfowl; other widely hunted birds include pheasants, wild turkeys, quail, doves, partridge, grouse, snipe, and woodcock. Muttonbirding is also popular in Australia and New Zealand. Though some hunting, such as that of muttonbirds, may be sustainable, hunting has led to the extinction or endangerment of dozens of species.

Other commercially valuable products from birds include feathers (especially the down of geese and ducks), which are used as insulation in clothing and bedding, and seabird feces (guano), which is a valuable source of phosphorus and nitrogen. The War of the Pacific, sometimes called the Guano War, was fought in part over the control of guano deposits.

Birds have been domesticated by humans both as pets and for practical purposes. Colourful birds, such as parrots and mynas, are bred in captivity or kept as pets, a practice that has led to the illegal trafficking of some endangered species. Falcons and cormorants have long been used for hunting and fishing, respectively. Messenger pigeons, used since at least 1 AD, remained important as recently as World War II. Today, such activities are more common either as hobbies, for entertainment and tourism, or for sports such as pigeon racing.

Amateur bird enthusiasts (called birdwatchers, twitchers or, more commonly, birders) number in the millions. Many homeowners erect bird feeders near their homes to attract various species. Bird feeding has grown into a multimillion dollar industry; for example, an estimated 75% of households in Britain provide food for birds at some point during the winter.

Religion, folklore and culture

Birds play prominent and diverse roles in folklore, religion, and popular culture. In religion, birds may serve as either messengers or priests and leaders for a deity, such as in the Cult of Makemake, in which the Tangata manu of Easter Island served as chiefs, or as attendants, as in the case of Hugin and Munin, two Common Ravens who whispered news into the ears of the Norse god Odin. Priests were involved in augury, or interpreting the words of birds while the "auspex" (from which the word "auspicious" is derived) watched their activities to foretell events. They may also serve as religious symbols, as when Jonah (Hebrew: יוֹנָה, dove) embodied the fright, passivity, mourning, and beauty traditionally associated with doves. Birds have themselves been deified, as in the case of the Common Peacock, which is perceived as Mother Earth by the Dravidians of India. Some birds have also been perceived as monsters, including the mythological Roc and the Māori's legendary Pouākai, a giant bird capable of snatching humans.

Birds have been featured in culture and art since prehistoric times, when they were represented in early cave paintings. Birds were later used in religious or symbolic art and design, such as the magnificent Peacock Throne of the Mughal and Persian emperors. With the advent of scientific interest in birds, many paintings of birds were commissioned for books. Among the most famous of these bird artists was John James Audubon, whose paintings of North American birds were a great commercial success in Europe and who later lent his name to the National Audubon Society. Birds are also important figures in poetry; for example, Homer incorporated Nightingales into his Odyssey, and Catullus used a sparrow as an erotic symbol in his Catullus 2. The relationship between an albatross and a sailor is the central theme of Samuel Taylor Coleridge's The Rime of the Ancient Mariner, which led to the use of the term as a metaphor for a 'burden'. Other English metaphors derive from birds; vulture funds and vulture investors, for instance, take their name from the scavenging vulture.

Perceptions of various bird species often vary across cultures. Owls are associated with bad luck, witchcraft, and death in parts of Africa, but are regarded as wise across much of Europe. Hoopoes were considered sacred in Ancient Egypt and symbols of virtue in Persia, but were thought of as thieves across much of Europe and harbingers of war in Scandinavia.

Conservation

Though human activities have allowed the expansion of a few species, such as the Barn Swallow and European Starling, they have caused population decreases or extinction in many other species. Over a hundred bird species have gone extinct in historical times, although the most dramatic human-caused avian extinctions, eradicating an estimated 750–1800 species, occurred during the human colonisation of Melanesian, Polynesian, and Micronesian islands. Many bird populations are declining worldwide, with 1,227 species listed as threatened by Birdlife International and the IUCN in 2009.

The most commonly cited human threat to birds is habitat loss. Other threats include overhunting, accidental mortality due to structural collisions or long-line fishing bycatch, pollution (including oil spills and pesticide use), competition and predation from nonnative invasive species, and climate change.

Governments and conservation groups work to protect birds, either by passing laws that preserve and restore bird habitat or by establishing captive populations for reintroductions. Such projects have produced some successes; one study estimated that conservation efforts saved 16 species of bird that would otherwise have gone extinct between 1994 and 2004, including the California Condor and Norfolk Parakeet.

See also

==Notes==

External links

Avibase—The World Bird Database

Birdlife International—Dedicated to bird conservation worldwide; has a database with about 250,000 records on endangered bird species.

Bird biogeography

Birds and Science from the National Audubon Society

Cornell Lab of Ornithology

Essays on bird biology

International Ornithological Committee

North American Birds for Kids

Ornithology

Sora—Searchable online research archive; Archives of the following ornithological journals The Auk, Condor, Journal of Field Ornithology, North American Bird Bander, Studies in Avian Biology, Pacific Coast Avifauna, and the Wilson Bulletin.

The Internet Bird Collection—A free library of videos of the world's birds

The Institute for Bird Populations, California

list of field guides to birds, from the International Field Guides database

RSPB bird identifier—Interactive identification of all UK birds

Category:Animals Category:Biological pest control

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Coordinates	34°03′″N118°15′″N
name	Sir David Attenborough
birth date	May 08, 1926
birth place	Isleworth, London, England
residence	Richmond, London
nationality	British
alma mater
occupation
title
spouse	Jane Elizabeth Ebsworth Oriel (m. 1950–1997, her death)
children
footnotes	}}

Sir David Frederick Attenborough () OM, CH, CVO, CBE, FRS, FZS, FSA (born 8 May 1926 in London, England) is a broadcaster and naturalist. His career as the respected face and voice of natural history programmes has endured for more than 50 years. He is best known for writing and presenting the nine Life series, in conjunction with the BBC Natural History Unit, which collectively form a comprehensive survey of all life on the planet. He is also a former senior manager at the BBC, having served as controller of BBC Two and director of programming for BBC Television in the 1960s and 1970s.

He is a younger brother of director, producer and actor Richard Attenborough.

Early life and family

Attenborough grew up in College House on the campus of the University of Leicester, where his father, Frederick, was principal. He is the middle of three sons (his elder brother, Richard, became an actor/film director and his younger brother, John Michael Attenborough, an executive at Alfa Romeo). During World War II his parents also adopted two Jewish refugee girls from Europe.

Attenborough spent his childhood collecting fossils, stones and other natural specimens. He received encouragement in this pursuit at age seven, when a young Jacquetta Hawkes admired his "museum". A few years later, one of his adoptive sisters gave him a piece of amber filled with prehistoric creatures; some 50 years later, it would be the focus of his programme The Amber Time Machine.

Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and then won a scholarship to Clare College, Cambridge in 1945, where he studied geology and zoology and obtained a degree in Natural Sciences. In 1947, he was called up for National Service in the Royal Navy and spent two years stationed in North Wales and the Firth of Forth.

In 1950, Attenborough married Jane Elizabeth Ebsworth Oriel; the marriage lasted until her death in 1997. The couple had two children, Robert and Susan.

His son, Robert Attenborough, is a senior lecturer in Bioanthropology for the School of Archaeology and Anthropology at the Australian National University in Canberra.

First years at BBC

After leaving the Navy, Attenborough took a position editing children's science textbooks for a publishing company. He soon became disillusioned with the work, however, and in 1950, he applied for a job as a radio talks producer with the BBC. Although he was rejected for this job, his CV later attracted the interest of Mary Adams, head of the Talks (factual broadcasting) department of the BBC's fledgling television service. Attenborough, like most Britons at that time, did not own a television, and he had seen only one programme in his life. However, he accepted Adams' offer of a three-month training course, and in 1952, he joined the BBC full time. Initially discouraged from appearing on camera because Adams thought his teeth were too big, he became a producer for the Talks Department, which handled all non-fiction broadcasts. His early projects included the quiz show Animal, Vegetable, Mineral? and Song Hunter, a series about folk music presented by Alan Lomax.

Attenborough's association with natural history programmes began when he produced and presented the three-part series The Pattern of Animals. The studio-bound programme featured animals from London Zoo, with the naturalist Sir Julian Huxley discussing their use of camouflage, aposematism and courtship displays. Through this programme, Attenborough met Jack Lester, the curator of the zoo's reptile house, and they decided to make a series about an animal-collecting expedition. The result was Zoo Quest, first broadcast in 1954, which Attenborough presented at short notice, due to Lester being taken ill.

In 1957, the BBC Natural History Unit was formally established in Bristol. Attenborough was asked to join it, but declined, not wishing to move from London where he and his young family were settled. Instead he formed his own department, the Travel and Exploration Unit, which allowed him to continue to front the Zoo Quest programmes as well as produce other documentaries, notably the Travellers’ Tales and Adventure series.

In the early 1960s, Attenborough resigned from the permanent staff of the BBC to study for a postgraduate degree in social anthropology at the London School of Economics, interweaving his study with further filming. However, he accepted an invitation to return to the BBC as Controller of BBC Two before he could finish the degree.

BBC administration

Attenborough became the Controller of BBC Two in March 1965, but had a clause inserted in his contract that would allow him to continue making programmes on an occasional basis. Later the same year, he filmed elephants in Tanzania, and in 1969, he made a three-part series on the cultural history of Bali. For the 1971 film A Blank on the Map, he joined the first Western expedition to a remote highland valley in New Guinea to seek out an uncontacted tribe.

BBC Two was launched in 1964, but had struggled to capture the public's imagination. When Attenborough arrived as Controller, he quickly abolished the channel's quirky kangaroo mascot and shook up the schedule. With a mission to make BBC Two's output diverse and different from that offered by other networks, he began to establish a portfolio of programmes that defined the channel's identity for decades to come. Under his tenure, music, the arts, entertainment, archaeology, experimental comedy, travel, drama, sport, business, science and natural history all found a place in the weekly schedules. Often, an eclectic mix was offered within a single evening's viewing. Programmes he commissioned included Man Alive, Call My Bluff, Chronicle, Life, One Pair of Eyes, The Old Grey Whistle Test, Monty Python's Flying Circus and The Money Programme. When BBC Two became the first British channel to broadcast in colour in 1967, Attenborough took advantage by introducing televised snooker, as well as bringing rugby league to British television on a regular basis via the BBC2 Floodlit Trophy.

One of his most significant decisions was to order a 13-part series on the history of Western art, to show off the quality of the new UHF colour television service that BBC Two offered. Broadcast to universal acclaim in 1969, Civilisation set the blueprint for landmark authored documentaries, which were informally known as "tombstone" or "sledgehammer" projects. Others followed, including Jacob Bronowski's The Ascent of Man (also commissioned by Attenborough), and Alistair Cooke's America. Attenborough thought that the story of evolution would be a natural subject for such a series. He shared his idea with Chris Parsons, a producer at the Natural History Unit, who came up with the title Life on Earth and returned to Bristol to start planning the series. Attenborough harboured a strong desire to present the series himself, but this would not be possible so long as he remained in a management post.

In 1969, Attenborough was promoted to Director of Programmes, making him responsible for the output of both BBC channels. His tasks, which included agreeing budgets, attending board meetings and firing staff, were now far removed from the business of filming programmes. When Attenborough's name was being suggested as a candidate for the position of Director General of the BBC in 1972, he phoned his brother Richard to confess that he had no appetite for the job. Early the following year, he left his post to return to full-time programme making, leaving him free to write and present the planned natural history epic.

Return to broadcasting

After his resignation, Attenborough became a freelance broadcaster and immediately started work on his next project, a pre-arranged trip to Indonesia with a crew from the Natural History Unit. It resulted in the 1973 series Eastwards with Attenborough, which was similar in tone to the earlier Zoo Quests but without the animal-collecting element.

On his return, he began to work on the scripts for Life on Earth. Due to the scale of his ambition, the BBC decided to partner with an American network to secure the necessary funding. While the negotiations were proceeding he worked on a number of other television projects. He presented a series on tribal art (The Tribal Eye, 1975) and another on the voyages of discovery (The Explorers, 1975). He also presented a BBC children's series about cryptozoology entitled Fabulous Animals (1975), which featured mythical creatures such as the griffin and kraken. Eventually, the BBC signed a co-production deal with Turner Broadcasting and Life on Earth moved into production in 1976.

"Life" series

Beginning with Life on Earth in 1979, Attenborough set about creating a body of work which became a benchmark of quality in wildlife film-making and influenced a generation of documentary film-makers. The series also established many of the hallmarks of the BBC's natural history output. By treating his subject seriously and researching the latest discoveries, Attenborough and his production team gained the trust of the scientific community, who responded by allowing him to feature their subjects in his programmes. In Rwanda, for example, Attenborough and his crew were granted privileged access to film Dian Fossey's research group of mountain gorillas. Innovation was another factor in Life on Earth's success: new film-making techniques were devised to get the shots Attenborough wanted, with a focus on events and animals that were hitherto unfilmed. Computerised airline schedules, which had only recently been introduced, enabled the series to be elaborately devised so that Attenborough visited several locations around the globe in each episode, sometimes even changing continents mid-sentence. Although appearing as the on-screen presenter, he consciously restricted his pieces to camera to give his subjects top billing.

The success of Life on Earth prompted the BBC to consider a follow-up, and five years later, The Living Planet was screened. This time, Attenborough built his series around the theme of ecology, the adaptations of livings things to their environment. It was another critical and commercial success, generating huge international sales for the BBC. In 1990, The Trials of Life completed the original "Life" trilogy, looking at animal behaviour through the different stages of life. The series drew strong reactions from the viewing public for its sequences of killer whales hunting sea lions on a Patagonian beach and chimpanzees hunting and violently killing a colobus monkey.

In the 1990s, Attenborough continued to use the "Life" moniker for a succession of authored documentaries. In 1993, he presented Life in the Freezer, the first television series to survey the natural history of Antarctica. Although past normal retirement age, he then embarked on a number of more specialised surveys of the natural world, beginning with plants. They proved a difficult subject for his producers, who had to deliver five hours of television featuring what are essentially immobile objects. The result, The Private Life of Plants (1995), showed plants as dynamic organisms by using time-lapse photography to speed up their growth.

Prompted by an enthusiastic ornithologist at the BBC Natural History Unit, Attenborough then turned his attention to the animal kingdom and in particular, birds. As he was neither an obsessive twitcher, nor a bird expert, he decided he was better qualified to make The Life of Birds (1998) on the theme of behaviour. The order of the remaining "Life" series was dictated by developments in camera technology. For The Life of Mammals (2002), low-light and infrared cameras were deployed to reveal the behaviour of nocturnal mammals. The series contains a number of memorable two shots of Attenborough and his subjects, which included chimpanzees, a blue whale and a grizzly bear. Advances in macro photography made it possible to capture natural behaviour of very small creatures for the first time, and in 2005, Life in the Undergrowth introduced audiences to the world of invertebrates.

At this point, Attenborough realised that he had spent 20 years unconsciously assembling a collection of programmes on all the major groups of terrestrial animals and plants — only reptiles and amphibians were missing. When Life in Cold Blood was broadcast in 2008, he had the satisfaction of completing the set, brought together in a DVD encyclopaedia called Life on Land. In an interview that year, Attenborough was asked to sum up his achievement, and responded:

However, in 2010 Attenborough asserted that his forthcoming First Life — dealing with evolutionary history before Life on Earth — should also be included within the "Life" series. In the documentary Attenborough's Journey he stated, "This series, to a degree which I really didn't fully appreciate until I started working on it, really completes the set."

Other documentaries

Alongside the "Life" series, Attenborough has continued to work on other television documentaries, mainly in the natural history genre. He wrote and presented a series on man's influence on the natural history of the Mediterranean basin, The First Eden, in 1987. Two years later, he demonstrated his passion for fossils in Lost Worlds Vanished Lives.

Attenborough narrated every episode of Wildlife on One, a BBC One wildlife series which ran for 253 episodes between 1977 and 2005. At its peak, it drew a weekly audience of eight to ten million, and the 1987 episode "Meerkats United" was voted the best wildlife documentary of all time by BBC viewers. He has also narrated over 50 episodes of Natural World, BBC Two's flagship wildlife series. (Its forerunner, The World About Us, was created by Attenborough in 1969, as a vehicle for colour television.) In 1997, he narrated the BBC Wildlife Specials, each focussing on a charismatic species, and screened to mark the Natural History Unit's 40th anniversary.

As a writer and narrator, he continued to collaborate with the BBC Natural History Unit in the new millennium. Alastair Fothergill, a senior producer with whom Attenborough had worked on The Trials of Life and Life in the Freezer, was making The Blue Planet (2001), the Unit's first comprehensive series on marine life. He decided not to use an on-screen presenter due to difficulties in speaking to camera through diving apparatus, but asked Attenborough to narrate the films. The same team reunited for Planet Earth (2006), the biggest nature documentary ever made for television, and the first BBC wildlife series to be shot in high definition. In 2009, Attenborough wrote and narrated Life, a ten-part series focussing on extraordinary animal behaviour, and narrated Nature's Great Events, which showed how seasonal changes trigger major natural spectacles.

By the turn of the millennium, Attenborough's authored documentaries were adopting a more overtly environmentalist stance. In State of the Planet (2000), he used the latest scientific evidence and interviews with leading scientists and conservationists to assess the impact of man's activities on the natural world. He later turned to the issues of global warming (The Truth about Climate Change, 2006) and human population growth (How Many People Can Live on Planet Earth?, 2009). He also contributed a programme which highlighted the plight of endangered species to the BBC's Saving Planet Earth project in 2007, the 50th anniversary of the Natural History Unit.

Interestingly, although Attenborough's documentaries have attained immense popularity in the United States, several have never been made available on DVD in NTSC format, most notably those that cast doubt upon conservative religious or political positions. These include:

Life on Earth, which examines the evidence for evolution.

State of the Planet

The Truth About Climate Change

First Life, which examines the origin of life.

Current projects

Attenborough continues to work into his ninth decade, and is currently involved in a number of projects for the BBC and for Sky.

He is writing and presenting Frozen Planet, a major new series for BBC One which examines the impact of a warming climate on the people and wildlife of the polar regions. He has also recently completed two projects for BBC Two. Madagascar (which first aired weekly between the 9 to 23 February 2011) a three-part series giving an overview of Madagascar's unique wildlife. The accompanying documentary Attenborough and the Giant Egg (which first aired on the 2nd of March 2011) features the elephant bird egg which Attenborough discovered on his first filming expedition to the island in the 1960s.

Attenborough is also forging a new partnership with Sky, working on documentaries for the broadcaster's new 3D network, Sky 3D. Their first collaboration is Flying Monsters 3D, a film about pterosaurs which debuted on Christmas Day 2010. A second film, Penguin Island 3D, has also been announced. Both are produced by Atlantic Productions, the company behind Attenborough's 2010 series First Life.

Other work

From 1983, Attenborough worked on two environmentally themed musicals with the WWF and writers Peter Rose and Anne Conlon. Yanomamo was the first, about the Amazon rainforest, and the second, Ocean World, premiered at the Royal Festival Hall in 1991. They were both narrated by Attenborough on their national tour, and recorded on to audio cassette. Ocean World was also filmed for Channel 4 and later released.

In 1990, he highlighted the case of Mahjoub Sharif as part of the BBC's Prisoners of Conscience series.

In January 2009, the BBC commissioned Attenborough to provide a series of 20 ten-minute monologues covering the history of nature. Entitled David Attenborough's Life Stories, they are broadcast on Radio 4 in the Friday night slot vacated by Alistair Cooke's Letter from America. Part of Radio 4's A Point of View strand, the talks are also available as podcasts.

He appeared in the 2009 Children's Prom at the BBC Promenade Concerts and in the Last Night of the Proms on 12 September 2009, playing a floor polisher in Sir Malcolm Arnold's "A Grand, Grand Overture" (after which he was "shot" by Rory Bremner, who was playing the gun).

Attenborough also serves on the advisory board of BBC Wildlife magazine.

Achievements, awards and recognition

{| style="float:right; background:#f9f9f9; border:1px solid darkgrey;" |- !align="left"|Styles and honours |- |

Mr David Attenborough (1926–1974)

Mr David Attenborough CBE (1974–1983)

Mr David Attenborough CBE FRS (1983–1985)

Sir David Attenborough CBE FRS (1985–1991)

Sir David Attenborough CVO CBE FRS (1991–1996)

Sir David Attenborough CH CVO CBE FRS (1996–2005)

Sir David Attenborough OM CH CVO CBE FRS (2005–)

|}

Attenborough's contribution to broadcasting and wildlife film-making has brought him international recognition. He has been called "the great communicator, the peerless educator" and "the greatest broadcaster of our time". His programmes are often cited as an example of what public service broadcasting should be, even by critics of the BBC, and has influenced a generation of wildlife film-makers.

Honorary titles

In 2010 it was reported that Attenborough has been given 29 honorary degrees by British universities, more than any other person. In 1980, he was honoured by the Open University, with whom he has had a close association throughout his career. He also has honorary Doctor of Science awards from the University of Cambridge (1984) and the University of Oxford (1988). In 2006, the two eldest Attenborough brothers returned to their home city to receive the title of Distinguished Honorary Fellows of the University of Leicester, "in recognition of a record of continuing distinguished service to the University." David Attenborough was previously awarded an honorary Doctor of Letters degree by the university in 1970, and was made an honorary Freeman of the City of Leicester in 1990.

Attenborough has received the title Honorary Fellow from Clare College, Cambridge (1980), the Zoological Society of London (1998), the Linnean Society (1999), the Institute of Biology (2000) and the Society of Antiquaries (2007).

Recognition

Attenborough has featured as the subject of a number of BBC television programmes. Life on Air (2002) examined the legacy of his work and Attenborough the Controller (2002) focused on his time in charge of BBC Two. He also featured prominently in The Way We Went Wild (2004), a series about natural history television presenters, and 100 Years of Wildlife Films (2007), a special programme marking the centenary of the nature documentary. In 2006, British television viewers were asked to vote for their Favourite Attenborough Moments for a UKTV poll to coincide with the broadcaster's 80th birthday. The winning clip showed Attenborough observing the mimicry skills of the superb lyrebird.

Attenborough was named as the most trusted celebrity in Britain in a 2006 Reader's Digest poll,. and the following year he won The Culture Show's Living Icon Award. He has also been named among the 100 Greatest Britons in a 2002 BBC poll and is one of the top ten "Heroes of Our Time" according to New Statesman magazine.

He has the distinction of having a number of newly-discovered species and fossils being named in his honour. In 1993, after discovering that the Mesozoic reptile Plesiosaurus conybeari had not, in fact, been a true plesiosaur, the paleontologist Robert Bakker renamed the species Attenborosaurus conybeari. A fossilised armoured fish discovered at the Gogo Formation, Western Australia in 2008 was given the name Materpiscis attenboroughi, after Attenborough had filmed at the site and highlighted its scientific importance in Life on Earth. The Materpiscis fossil is believed to be the earliest organism capable of internal fertilisation.

He has also lent his name to a species of Ecuadorian flowering tree, Blakea attenboroughi, one of the world's largest carnivorous plants, Nepenthes attenboroughii, and one of only four species of long-beaked echidna, the critically endangered Zaglossus attenboroughi, discovered by explorer and zoologist Tim Flannery in the Cyclops Mountains of New Guinea in 1998.

In September 2009, London's Natural History Museum opened the Attenborough Studio, part of its Darwin Centre development.

Awards

1970: BAFTA Desmond Davis Award

1974: Commander of the Order of the British Empire (CBE)

1980: BAFTA Fellowship

1983: Fellow of the Royal Society (FRS)

1985: Knighthood

1991: Commander of the Royal Victorian Order (CVO) for producing Queen Elizabeth II's Christmas broadcast for a number of years from 1986

1991: Foreign Honorary Member of the American Academy of Arts and Sciences

1996: Companion of Honour (CH) "for services to nature broadcasting"

1998: International Cosmos Prize

2003: Michael Faraday Prize awarded by the Royal Society

2004: Descartes Prize for Outstanding Science Communication Actions

2004: Caird Medal of the National Maritime Museum

2005: Order of Merit (OM)

2005: Nierenberg Prize for Science in the Public Interest

2006: National Television Awards Special Recognition Award

2006: Institute of Ecology and Environmental Management - Institute Medal in recognition of his outstanding contribution to the public perception and understanding of ecology

2006: The Culture Show British Icon Award

2007: British Naturalists' Association Peter Scott Memorial Award

2009: BAFTA Specialist factual award for Life In Cold Blood

2009: Prince of Asturias Award

2010: Fonseca Prize

2010: Queensland Museum Medal

Views and advocacy

Environmental causes

Attenborough's programmes have often included references to the impact of human society on the natural world. The last episode of The Living Planet, for example, focuses almost entirely on humans' destruction of the environment and ways that it could be stopped or reversed. Despite this, he has been criticised for not giving enough prominence to environmental messages. Some environmentalists feel that programmes like Attenborough's give a false picture of idyllic wilderness and do not do enough to acknowledge that such areas are increasingly encroached upon by humans.

However, his closing message from State of the Planet was forthright:

The future of life on earth depends on our ability to take action. Many individuals are doing what they can, but real success can only come if there's a change in our societies and our economics and in our politics. I've been lucky in my lifetime to see some of the greatest spectacles that the natural world has to offer. Surely we have a responsibility to leave for future generations a planet that is healthy, inhabitable by all species.

Attenborough has subsequently become more vocal in his support of environmental causes. In 2005 and 2006, he backed a BirdLife International project to stop the killing of albatross by longline fishing boats. He gave public support to WWF's campaign to have 220,000 square kilometres of Borneo's rainforest designated a protected area. He also serves as a vice-president of BTCV, vice-president of Fauna and Flora International, president of Butterfly Conservation and president of Leicestershire and Rutland Wildlife Trust. In 2003 he launched an appeal to create a rainforest reserve in Ecuador in memory of Christopher Parsons, the producer of Life on Earth and a personal friend, who had died the previous year. The same year, he helped to launch ARKive, a global project instigated by Parsons to gather together natural history media into a digital library. ARKive is an initiative of Wildscreen, of which Attenborough is a patron. He later became patron of the World Land Trust, and an active supporter. He supported Glyndebourne in their successful application to obtain planning permission for a wind turbine in an Area of Outstanding Natural Beauty, and gave evidence at the planning inquiry arguing in favour of the proposal.

Attenborough has repeatedly said that he considers human overpopulation to be the root cause of many environmental problems. In The Life of Mammals, he made a plea for humans to curb population growth so that other species will not be crowded out. In 2009, he became a patron of Population Matters, (formerly known as the Optimum Population Trust), a UK charity advocating sustainable human populations.

He has written and spoken publicly about the fact that, despite past scepticism, he believes the Earth's climate is warming in a way that is cause for concern, and that this can likely be attributed to human activity. He summed up his thoughts at the end of his 2006 documentary "Can We Save Planet Earth?" as follows:

In the past, we didn't understand the effect of our actions. Unknowingly, we sowed the wind and now, literally, we are reaping the whirlwind. But we no longer have that excuse: now we do recognise the consequences of our behaviour. Now surely, we must act to reform it — individually and collectively, nationally and internationally — or we doom future generations to catastrophe.

In a 2005 interview with BBC Wildlife magazine, Attenborough said he considered George W. Bush to be the era's top "environmental villain". In 2007, he further elaborated on the USA's consumption of energy in relation to its population. When asked if he thought America to be "the villain of the piece", he responded:

I don't think whole populations are villainous, but Americans are just extraordinarily unaware of all kinds of things. If you live in the middle of that vast continent, with apparently everything your heart could wish for just because you were born there, then why worry? [...] If people lose knowledge, sympathy and understanding of the natural world, they're going to mistreat it and will not ask their politicians to care for it.

Religion and creationism

In a December 2005 interview with Simon Mayo on BBC Radio Five Live, Attenborough stated that he considers himself an agnostic. When asked whether his observation of the natural world has given him faith in a creator, he generally responds with some version of this story, making reference to the Loa loa parasitic worm:

My response is that when Creationists talk about God creating every individual species as a separate act, they always instance hummingbirds, or orchids, sunflowers and beautiful things. But I tend to think instead of a parasitic worm that is boring through the eye of a boy sitting on the bank of a river in West Africa, [a worm] that's going to make him blind. And [I ask them], 'Are you telling me that the God you believe in, who you also say is an all-merciful God, who cares for each one of us individually, are you saying that God created this worm that can live in no other way than in an innocent child's eyeball? Because that doesn't seem to me to coincide with a God who's full of mercy'.

He has explained that he feels the evidence all over the planet clearly shows evolution to be the best way to explain the diversity of life, and that "as far as I'm concerned, if there is a supreme being then he chose organic evolution as a way of bringing into existence the natural world."

In a BBC Four interview with Mark Lawson, Attenborough was asked if he at any time had any religious faith. He replied simply, "No." He has also said "It never really occurred to me to believe in God".

In 2002, Attenborough joined an effort by leading clerics and scientists to oppose the inclusion of creationism in the curriculum of UK state-funded independent schools which receive private sponsorship, such as the Emmanuel Schools Foundation. In 2009, Attenborough stated that the Book of Genesis, by saying that the world was there for people to dominate, had taught generations that they can "dominate" the environment, and that this has resulted in the devastation of vast areas of the environment. Attenborough further explained to the science journal Nature, "That's why Darwinism, and the fact of evolution, is of great importance, because it is that attitude which has led to the devastation of so much, and we are in the situation that we are in."

Also in early 2009, the BBC broadcast an Attenborough one-hour special, Charles Darwin and the Tree of Life. In reference to the programme, Attenborough stated that "People write to me that evolution is only a theory. Well, it is not a theory. Evolution is as solid a historical fact as you could conceive. Evidence from every quarter. What is a theory is whether natural selection is the mechanism and the only mechanism. That is a theory. But the historical reality that dinosaurs led to birds and mammals produced whales, that's not theory." He strongly opposes creationism and its offshoot "intelligent design", saying that a survey that found a quarter of science teachers in state schools believe that creationism should be taught alongside evolution in science lessons was "really terrible".

In March 2009, Attenborough appeared on Friday Night with Jonathan Ross. Attenborough stated that he felt evolution did not rule out the existence of a God and accepted the title of agnostic saying, "My view is: I don't know one way or the other but I don't think that evolution is against a belief in God."

BBC and public service broadcasting

Attenborough is a lifelong supporter of the BBC, public broadcasting and the television licence. He has said:

PSB, to me, is not about selecting individual programme strands here or there, financing them from some outside source and then foisting them upon commercial networks. Public Service Broadcasting, watched by a healthy number of viewers, with programmes financed in proportion to their intrinsic needs and not the size of the audience, can only effectively operate as a network — a network whose aim is to cater for the broadest possible range of interests, popular as well as less popular, a network that measures its success not only by its audience size but by the range of its schedule.

Public service broadcasting is one of the things that distinguishes this country and makes me want to live here. I have spent all my life in it. I would be very distressed if public service broadcasting was weakened. I have been at the BBC since 1952, and know the BBC is constantly being battered. It is today.

If you could demonstrate that the BBC was grossly extravagant there might be a case for saying OK take it away. But in fact the BBC per minute in almost every category is as cheap as you can find anywhere in the world and produces the best quality. If you take the money away, which part of the BBC will you remove? The BBC has gone through swingeing staff cuts. It has been cut to the bone, if you divert licence fee money elsewhere, you cut quality and services. There is always that threat from politicians who will say your licence fee is up for grabs. We will take it. There is a lot of people who want to see the BBC weakened. They talk of this terrible tax of the licence fee. Yet it is the best bargain that is going. Four radio channels and god knows how many TV channels. It is piffling.

There have always been politicians or business people who have wanted to cut the BBC back or stop it saying the sort of things it says. There's always been trouble about the licence and if you dropped your guard you could bet our bottom dollar there'd be plenty of people who'd want to take it away. The licence fee is the basis on which the BBC is based and if you destroy it, broadcasting... becomes a wasteland.

Attenborough expressed regret at some of the changes made to the BBC in the 1990s by Director-General John Birt, who introduced an internal market at the corporation, slimmed and even closed some departments and outsourced much of the corporation’s output to private production companies, in line with the Broadcasting Act 1990. He has said:

There is no question but that Birtism . . . has had some terrible results. On the other hand, the BBC had to change. Now it has to produce programmes no one else can do. Otherwise, forget the licence fee.

The Bristol Unit has suffered along with the rest of the BBC from recent staff cuts. Yet it remains confident in the belief that the BBC will maintain it, in spite of the vagaries of fashion, because the Corporation believes that such programmes deserve a place in the schedules of any broadcaster with pretensions of providing a Public Service. In due course, similar specialist Units were also established in London, in order to produce programmes on archaeology and history, on the arts, on music and on science. They too, at one time, had their successes. But they have not survived as well as the Unit in Bristol. The statutory requirement that a certain percentage of programmes must come from independent producers has reduced in-house production and the Units necessarily shrank proportionately in size. As they dwindled, so the critical mass of their production expertise has diminished. The continuity of their archives has been broken, they have lost the close touch they once had worldwide with their subjects and they are no longer regarded internationally as the centres of innovation and expertise that they once were.

When Birt gets up and says the whole of the BBC was a creative mess and it was wasteful, I never saw any evidence of that. I absolutely know it wasn’t so in my time. Producers now spend all their time worrying about money, and the thing has suffered for it.

In 2008, he criticised the BBC’s television schedules:

I have to say that there are moments when I wonder — moments when its two senior networks, first set up as a partnership, schedule simultaneously programmes of identical character, thereby contradicting the very reason that the BBC was given a second network. Then there are times when both BBC One and BBC Two, intoxicated by the sudden popularity of a programme genre, allow that genre to proliferate and run rampant through the schedules. The result is that other kinds of programmes are not placed, simply because of a lack of space. Do we really require so many gardening programmes, make-over programmes or celebrity chefs? Is it not a scandal in this day and age, that there seems to be no place for continuing series of programmes about science or serious music or thoughtful in-depth interviews with people other than politicians?

In 2009, Attenborough commented on the general state of British television, describing the newly introduced product placement on commercial television as something he considered an "appalling" idea 20 years earlier:

I think it's in great trouble. The whole system on which it was built — a limited number of networks, with adequate funding — is under threat. That funding is no longer there. As stations proliferate, so audiences are reduced. The struggle for audiences becomes ever greater, while money diminishes. I think that's a fair recipe for trouble. Inevitably, this has an impact on the BBC … Fortunately, the BBC doesn't think natural history programmes must compete with Strictly Come Dancing in terms of audience. The BBC says, 'Make proper, responsible natural history programmes.'

Other causes

In May 2005, Attenborough was appointed as patron of the UK's Blood Pressure Association, which provides information and support to people with hypertension.

Attenborough is also an honorary member of BSES Expeditions, a youth development charity that operates challenging scientific research expeditions to remote wilderness environments.

Parodies and artistic portrayals

Attenborough's accent and hushed, excited delivery have been the subject of frequent parodies by comedians, most notably Spike Milligan, Marty Feldman and The Goodies. Attenborough is portrayed by Michael Palin in the final episode of Monty Python's Flying Circus, where he searches the African jungle for the legendary Walking Tree of Dahomey (Quercus Nicholas Parsonus), sweating excessively and accompanied by native guides wearing saxophones. David Attenborough has also been parodied in a series of GEICO insurance commercials, showing a nature show host, clearly patterned on Attenborough.

"Time Flies", a sketch by David Ives, features a pair of anthropomorphic mayflies engaging in a courtship ritual, while watching themselves on television in a documentary narrated by David Attenborough.

The character of Nigel Thornberry, a nature documentarian on Nickelodeon's The Wild Thornberrys is strongly influenced by Attenborough.

He has also been parodied by the Australia 1980s sketch show The Comedy Company where Ian McFadyen portrays a character called David Rabbitborough.

The video game Discworld, based on the series of books by Terry Pratchett, parodies his unique delivery to explain different aspects of the Discworld Universe, such as L-Space.

Mythbusters host Adam Savage often imitates Attenborough when speaking about his co-host Jamie Hyneman, which Jamie verified in the YouTube Special Episode.

Filmography

Attenborough is known foremost for writing and presenting the ten Life series, which are presented in chronological order below:

Life on Earth (1979)

The Living Planet (1984)

The Trials of Life (1990)

Life in the Freezer (1993)

The Private Life of Plants (1995)

The Life of Birds (1998)

The Life of Mammals (2002)

Life in the Undergrowth (2005)

Life in Cold Blood (2008)

First Life (2010)

His voice is synonymous with wildlife documentaries for British audiences, and the principal series with which his narration is associated include:

Wildlife on One (1977–2005)

BBC Wildlife Specials (1995–2008)

The Blue Planet (2001)

Planet Earth (British version) (2006)

Nature's Great Events (2009)

''Life (2009)

The Frozen Planet (2011) (in production)

Books

Bibliography

Zoo Quest to Guyana (Lutterworth Press, 1956)

Zoo Quest for a Dragon (Lutterworth Press, 1957)

* (book club edition with 85 extra pages, Quest for the Paradise Birds, 1959)

Zoo Quest in Paraguay (Lutterworth Press, 1959)

* paperback (Penguin Books, 1982)

Quest in Paradise (1960)

People of Paradise (Harper & Brothers, 1960)

Zoo Quest to Madagascar (1961)

Quest Under Capricorn (1963)

Fabulous Animals (BBC, 1975) ISBN 0-563-17006-9

The Tribal Eye (1976)

Life on Earth (1979)

Discovering Life on Earth (1981)

Journeys to the past: Travels in New Guinea, Madagascar, and the northern territory of Australia (1983) Penguin Books ISBN 0-14-00.64133

The Living Planet (1984)

The First Eden: The Mediterranean World and Man (1987)(Little Brown & Co (T); 1st American ed edition (March 1990))

The Atlas of the Living World (1989)

The Trials of Life (Collins, 1990) ISBN 0-00-219912-2

The Private Life of Plants (BBC Books, 1994) ISBN 0-563-37023-8

The Life of Birds (BBC Books, 1998) ISBN 0-563-38792-0

The Life of Mammals (BBC Books, 2002) ISBN 0-563-53423-0

Life on Air: Memoirs of a Broadcaster (autobiography; 2002) ISBN 0-563-53461-3

* paperback: ISBN 0-563-48780-1

* updated edition: ISBN 9781846076527

Life in the Undergrowth (BBC Books, 2005) ISBN 0-563-52208-9

Amazing Rare Things - The Art of Natural History in the Age of Discovery with Susan Owens, Martin Clayton and Rea Alexandratos (The Royal Collection, 2007) Hardback - ISBN 978-1-902163-46-8; Softback - ISBN 978-1-902163-99-4

Life in Cold Blood (BBC Books, 2007) ISBN 9780563539223

Life Stories, (HarperCollins Publishers, 2009) ISBN 9780007338832

New Life Stories, (Collins, 2011) ISBN 9780007425129

Introductions

Attenborough has written the introduction or foreword for a number of books, including:

African Jigsaw: A Musical Entertainment, Peter Rose and Anne Conlon (published: 1986, Weinberger)

Tomorrow Is Too Late, Various (The Macmillan Press, 1990)

Life in the Freezer: Natural History of the Antarctic, Alastair Fothergill (BBC Books, 1993), ISBN 0-563-36431-9

Birds of Paradise: Paradisaeidae (Bird Families of the World series) Clifford B. Frith, Bruce M. Beehler, William T. Cooper (Illustrator) (Oxford University Press, 1998) ISBN 0-19-854853-2

The Blue Planet, Andrew Byatt, Alastair Fothergill, Martha Holmes (BBC Books, 2001) ISBN 0-563-38498-0.

Light on the Earth (BBC Books, 2005), two decades of winning images from the Wildlife Photographer of the Year competition, ISBN 0-563-52260-7

Planet Earth, Alastair Fothergill (BBC Books, 2006), ISBN 0-563-52212-7

Audio recordings

Tarka the Otter by Henry Williamson (available on audiocassette, 1978)

Yanomamo (musical entertainment, 1983) by Peter Rose and Anne Conlon; on-stage narration and published audio recording

Ocean World (musical entertainment, 1990) by Peter Rose and Anne Conlon; on-stage narration (including at The Royal Festival Hall), for audio recording and video broadcast (both published)

Peter and the Wolf for BBC Music Magazine (free CD with the June 2000 issue).

In addition, Attenborough has recorded some of his own works in audiobook form, including Life on Earth, Zoo Quest for a Dragon and his autobiography Life on Air: Memoirs of a Broadcaster.

References

External links

BBC Books David Attenborough website

BBC Life on Air website

BBC biography

Wildfilmhistory.org biography

BBC interviews with Attenborough in 1976 and 1998

PBS interview with Attenborough in 1998

A Life in TV: Sir David Attenborough, BAFTA

BBC Wildlife Finder - David Attenborough's favourite moments

Tribute from the World Land Trust

Category:1926 births Category:Living people Category:Alumni of Clare College, Cambridge Category:Alumni of University College London Category:BBC Two controllers Category:Commanders of the Order of the British Empire Category:Commanders of the Royal Victorian Order Category:English agnostics Category:English conservationists Category:English environmentalists Category:English television personalities Category:Fellows of the American Academy of Arts and Sciences Category:Fellows of the Royal Society Category:Fellows of the Society of Antiquaries of London Category:Fellows of the Zoological Society of London Category:Kalinga Prize recipients Category:Knights Bachelor Category:Members of the Linnean Society of London Category:Members of the Order of the Companions of Honour Category:Members of the Order of Merit Category:People associated with the University of Leicester Category:People from Leicester Category:People from London Category:Presenters of the Royal Institution Christmas Lectures Category:British Book Award winners

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Coordinates	34°03′″N118°15′″N
name	Alfred Hitchcock
birth name	Alfred Joseph Hitchcock
birth date	August 13, 1899
birth place	Leytonstone, London, England
death date	April 29, 1980
death place	Bel Air, California, United States
other names	HitchThe Master of Suspense
occupation	Film director
years active	1921–76
religion	Roman Catholic
spouse	Alma Reville (1926–80; his death)
influenced	Stanley Kubrick, Tim Burton, Robert Zemeckis
website	}}

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980) was a British film director and producer. He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 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. 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. He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing. His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters. 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.

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." The magazine MovieMaker has described him as the most influential filmmaker of all-time, and he is widely regarded as one of cinema's most significant artists.

Hitchcock's life

Hitchcock was born on 13 August 1899 in Leytonstone, London, 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). He was named after his father's brother, Alfred. Hitchcock was raised Catholic and was sent to the Jesuit Classic school St Ignatius' College in Stamford Hill, London. His mother and paternal grandmother were of Irish extraction. He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.

Hitchcock said 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. This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films. Hitchcock's mother would often make him address her while standing at the foot of her bed, especially if he behaved badly, forcing him to stand there for hours. These experiences would later be used for the portrayal of the character of Norman Bates in his movie Psycho.

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. After graduating, he became a draftsman and advertising designer with a cable company called Henley's.

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. 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 met yet).

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. In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky and their British successor, Gainsborough Pictures, designing the titles for silent movies. His rise from title designer to film director took five years.

Inter-war British career

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). 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. However, the production was cancelled due to financial problems and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios in Germany; unfortunately, the film was a commercial flop. 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. 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. As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany. Some commentators regard this piece as the first truly "Hitchcockian" film, incorporating such themes as the "wrong man".

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. Alma's contribution to his films (some of which were credited on screen) had always been privately acknowledged by Hitchcock, as she was keen to avoid public attention.

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, and is often considered to be the first British sound feature film. 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. In the PBS series The Men Who Made The Movies, 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. 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 at Gaumont-British Picture Corporation. 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. 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."

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.

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'."

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

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".

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 Selznick 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.

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom, 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. The statuette was given to Selznick, as the film's producer. 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. 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. 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).

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. The movie was filmed in the first year of World War II and was apparently 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.

1940s films

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 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. 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. Joan Fontaine won Best Actress Oscar and the New York Film Critics Circle Award for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)". In what critics regard as a classic scene, 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.

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 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.

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films, 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, 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 on the small boat. 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". While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China, 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.

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". 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.

Hitchcock worked for Selznick again when he directed Spellbound (1945), which explored psychoanalysis 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. The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long, because it proved to be too disturbing for the audience. 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.

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. 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.

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, which appeared in 1948. Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with Lifeboat (1943). He also experimented with exceptionally long takes—up to ten minutes long. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make for 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

In 1950, Hitchcock filmed Stage Fright on location in the UK. For the first time, Hitchcock matched one of Warner Bros.' 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.

With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. Hitchcock approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director. Two men casually meet and speculate on removing people who are causing them difficulty. One of the men takes this banter entirely seriously. With Farley Granger reprising some elements of his role from Rope, Strangers continued the director's interest in the narrative possibilities of blackmail and murder. Robert Walker, previously known for "boy-next-door" roles, plays the villain.

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.

Three very popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the popular 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. Hitchcock experimented with 3D cinematography, although the film was not released in this format at first. However, it was shown in 3D in the early 1980s. The film marked a return to Technicolor 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. Like Lifeboat and Rope, the movie was photographed almost entirely within the confines of a small space: Stewart's tiny studio apartment overlooking the massive courtyard set. 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".

The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired Kelly with Cary Grant again. Grant 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." 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 Day). They play a couple whose son is kidnapped to prevent them from interfering with an assassination.

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.

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. Though the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and marked the last collaboration between Stewart and Hitchcock. 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, where Hitchcock won a Silver Seashell.

Late 1950s, 1960s and 1970s

By this time, Hitchcock had filmed in many areas of the United States. He followed Vertigo with three more successful films. Two are also recognised as among his very best films: 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. He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint).

Psycho is almost certainly Hitchcock's most well known film. Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set. 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. 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. He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. (On 13 April 2011, at the Cinema Arts Centre in Huntington, NY, Hedren stated in an interview with Turner Classic Movies' Ben Mankiewicz, prior to a screening of The Birds, that because she refused Hitchcock’s sexual advances, Hitchcock effectively stunted her career.) 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".

The latter two films were particularly notable for their unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho exceeded the limits of the time, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by school children (just prior to the infamous attack at the historic Bodega Bay School). These films are considered his last great films, after which his output deteriorated. (although some critics, such as Robin Wood and Donald Spoto, contend that Marnie, from 1964, is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked).

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. Hitchcock filmed two spy thrillers. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, was a Cold War thriller. Torn Curtain displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. In 1969, Topaz, another Cold War-themed film (based on a Leon Uris novel), was released. Both received mixed reviews from critics but are nonetheless recognised as espionage thrillers.

In 1972, Hitchcock returned to London to film Frenzy, his last major triumph. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre that he made so many films out of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders," which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train. Only one of them, however, has crossed the line to murder. For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the chief inspector and his comic domestic life. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences". Beginning with Torn Curtain, Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.

Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phoney powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.

Last film work and death

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.

Hitchcock died peacefully in his sleep on 29 April 1980, 9:17 am, due to renal failure in his Bel Air, Los Angeles, California home at the age of 80, survived by his wife and their daughter. His funeral service was held at Good Shepherd Catholic Church in Beverly Hills. Hitchcock's body was cremated and his ashes were scattered over the Pacific Ocean.

Themes, plot devices and motifs

Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "MacGuffin," an apparently minor detail serving as a pivot upon which the narrative turns.

Technical innovations

Hitchcock seemed to delight in the technical challenges of film making. In the film Lifeboat, Hitchcock stages the entire action of the movie in a small boat, yet manages to keep the cinematography from monotonous repetition (his trademark cameo appearance was a dilemma, given the limitations of the setting; so Hitchcock appears in a fictitious magazine for a weight loss product). Similarly, the entire action in Rear Window either takes place in or is seen from a single apartment. In Spellbound, two unprecedented 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 print of the film.

Rope (1948) was another technical challenge: a film that appears to have been shot entirely in a single take. The film 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.

Hitchcock's 1958 film Vertigo contains a camera technique developed by Irmin Roberts that has been imitated and re-used 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."

Signature appearances in his films

Hitchcock appeared briefly in many of his own films. For example, he is seen struggling to get a double bass onto a train, or walking dogs in the background.

Psychology of characters

Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in Topaz—Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.

Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.

Style of working

Writing

Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." In an interview with Roger Ebert in 1969, Hitchcock elaborated further: }}

In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."

Storyboards and production

Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years. He was reported to have never even bothered looking through the viewfinder, since he did not need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider.

However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers du cinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.

Even when storyboards were made, scenes that were shot differed from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.

Approach to actors

Similarly, much of Hitchcock's supposed dislike of actors has been exaggerated. Hitchcock simply did not tolerate the method approach, as he believed that actors should only concentrate on their performances and leave work on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline'. During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as a man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these performances contribute to the film's success.

For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:

In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.

Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumour that he had said that actors were cattle. Hitchcock addressed this story in his interview with Francois Truffaut:

I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.

Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith. for the sum of $40,000. Known as the 1870 Cornwall Ranch or 'Heart o' the Mountain', the property was perched high above Scotts Valley, California, at the end of Canham Road. The Hitchcocks resided there from 1940 to 1972. The Hitchcocks became close friends with the parents of Joan Fontaine, after she starred in his film, Rebecca. Years later, after a break-in at his estate, Hitchcock replaced all of the accumulated paintings with studio-made copies. The family sold the estate in 1974, six years before Hitchcock's death.

Hitchcock and family also purchased a second home in late 1942 at 10957 Bellagio Road in Los Angeles, just across from the Bel Air Country Club.

Rebecca was the only Hitchcock film to win the Academy Award for Best Picture (though the award did not go to Hitchcock but to producer David O. Selznick); four other films were nominated. In 1967, he was awarded the Irving G. Thalberg Memorial Award for lifetime achievement. He never won an Academy Award for direction of a film.

Television, radio, and books

Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just how popular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a television series titled Alfred Hitchcock Presents. While his films had made Hitchcock's name strongly associated with suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery, gallows humour, iconic image and mannerisms became instantly recognisable and were often the subject of parody.

The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs—no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail.

"Hitch" used a curious little tune by the French composer Charles Gounod (1818–1893), the composer of the 1859 opera Faust, as the theme "song" for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, in one of their extended play 45 rpm discs for RCA Victor during the 1950s.

Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the Three Investigators. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.

When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the Three Investigators to The Three Investigators.

At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock's Spellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's A Hangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.

Some notable writers whose works were used in the collection include Shirley Jackson (Strangers in Town, The Lottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.

Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves; such as Woolley, Doris Merrick and make up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine in November/December 1980.

In September 2010 BBC Radio 7 broadcast a series of five fifteen-minute programs entitled The Late Alfred Hitchcock Presents with Michael Roberts impersonating Alfred Hitchcock for introductory/concluding comments and reading the stories in his own voice. These five stories were originally intended for the television series, but were rejected because of their rather gruesome nature:

"The Waxwork" by A. M. Burrage (broadcast 13 September 2010)

"Sredni Vashtar" by Saki (broadcast 14 September 2010)

"The Perfectionist" by Margaret St. Clair (broadcast 15 September 2010)

"Being a Murderer Myself" by Arthur Williams (broadcast 16 September 2010)

"The Dancing Partner" by Jerome K. Jerome (broadcast 17 September 2010)

Filmography

Frequently cast actors and actresses

7 films: Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)

6 films: Leo G. Carroll: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951), and North By Northwest (1959)

4 films: Cary Grant: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North By Northwest (1959)

4 films: James Stewart: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), and Vertigo (1958)

4 films: Edmund Gwenn: The Skin Game (1931), Waltzes from Vienna (1934), Foreign Correspondent (1940), and The Trouble with Harry (1955)

3 films: Ingrid Bergman: Spellbound (1945), Notorious (1946), and Under Capricorn (1949)

3 films: Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955)

3 films: Basil Radford: Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939)

3 films: John Williams: The Paradine Case (1947), Dial M for Murder, (1954), and To Catch a Thief (1955)

3 films: Patricia Hitchcock: Stage Fright (1950), Strangers on a Train (1951), Psycho (1960)

Frequent collaborators

;Actors and actresses

Sara Allgood

Murray Alper

Ingrid Bergman

Paul Bryar

Donald Calthrop

Leonard Carey

Leo G. Carroll

Edward Chapman

Joseph Cotton (Actor – Hitchcock Movies & TV Series)

Hume Cronyn (also as writer)

Violet Farebrother

Bess Flowers

Cary Grant

Clare Greet

Edmund Gwenn

Gordon Harker

Tom Helmore

Patricia Hitchcock (daughter)

Ian Hunter

Isabel Jeans

Hannah Jones

Malcolm Keen

Grace Kelly

Phyllis Konstam

John Longden

Percy Marmont

Vera Miles (Actor – Hitchcock Movies & TV Series)

Basil Radford

Jeffrey Sayre

James Stewart

John Williams

Tippi Hedren

;Screenwriters

Charles Bennett

James Bridie

Joan Harrison

John Michael Hayes

Ben Hecht

Angus MacPhail

Eliot Stannard

;Film crew

Fred Ahern – Production Manager

Michael Balcon – Producer

Jack Barron – Makeup

Saul Bass – Main titles design

Robert F. Boyle – Art Director/Production Designer

Henry Bumstead – Art Director

Robert Burks – Cinematographer

Herbert Coleman – Assistant Director/Producer

Jack E. Cox – Cinematographer

Graham Cutts – Director

Lowell J. Farrell – Assistant Director

Charles Frend – Film Editor

Bill Gold – Film poster designer

Hilton A. Green – Assistant Director

Bobby Greene – First Assistant Camera

Edith Head – Costume Designer

Bernard Herrmann – Music Composer

J. McMillan Johnson – Art Director/Production Designer

Barbara Keon – Production Assistant

Emile Kuri – Set Decoration

Bryan Langley – Cinematographer/Assistant Camera

Louis Levy – Musical Director/Music Composer

Norman Lloyd – Producer/Director

John Maxwell – Producer

Daniel McCauley – Assistant Director

Frank Mills – Assistant Director

George Milo – Set Decoration

Ivor Montagu – Editor/Producer

Hal Pereira – Art Director

Michael Powell – Still Photographer/Assistant Camera

Alma Reville (wife) – Assistant Director/Writer

Rita Riggs – Costume Designer

Peggy Robertson – Assistant

Emile de Ruelle – Film Editor

William Russell – Sound Recordist

David O. Selznick – Producer

Harry Stradling – Cinematographer/Director of Photography

Lois Thurman – Script Supervisor

Dimitri Tiomkin – Music Composer

George Tomasini – Film Editor

Joseph A. Valentine – Cinematographer

Gaetano di Ventimiglia – Cinematographer

Waldon O. Watson – Sound Recordist

Franz Waxman – Music Composer

Albert Whitlock – Matte Painter

William H. Ziegler – Film Editor

See also

Alfred Hitchcock filmography

Drew Casper

List of unproduced Hitchcock projects

List of film collaborations

List of Alfred Hitchcock cameo appearances

Bibliography

Leitch, Thomas: The Encyclopedia of Alfred Hitchcock (ISBN 978-0-8160-4387-3). Checkmark Books, 2002. A single-volume encyclopaedia of all things about Alfred Hitchcock.

McGilligan, Patrick: Alfred Hitchcock: A Life in Darkness and Light. Regan Books, 2003. A comprehensive biography of the director.

References

Further reading

Auiler, Dan: Hitchcock's notebooks: an authorised and illustrated look inside the creative mind of Alfred Hitchcock. New York, Avon Books, 1999. Much useful background to the films.

Barr, Charles: English Hitchcock. Cameron & Hollis, 1999. On the early films of the director.

Conrad, Peter: The Hitchcock Murders. Faber and Faber, 2000. A highly personal and idiosyncratic discussion of Hitchcock's oeuvre.

DeRosa, Steven: Writing with Hitchcock. Faber and Faber, 2001. An examination of the collaboration between Hitchcock and screenwriter John Michael Hayes, his most frequent writing collaborator in Hollywood. Their films include Rear Window and The Man Who Knew Too Much.

Deutelbaum, Marshall; Poague, Leland (ed.): A Hitchcock Reader. Iowa State University Press, 1986. A wide-ranging collection of scholarly essays on Hitchcock.

Durgnat, Raymond: The strange case of Alfred Hitchcock Cambridge, Massachusetts: MIT Press, 1974 OCLC 1233570

Durgnat, Raymond; James, Nick; Gross, Larry: Hitchcock British Film Institute, 1999 OCLC 42209162

Durgnat, Raymond: A long hard look at Psycho London: British Film Institute Pub., 2002 OCLC 48883020

Giblin, Gary: Alfred Hitchcock's London. Midnight Marquee Press, 2006, (Paperback: ISBN 978-1-887664-67-7)

Gottlieb, Sidney: Hitchcock on Hitchcock. Faber and Faber, 1995. Articles, lectures, etc. by Hitchcock himself. Basic reading on the director and his films.

Gottlieb, Sidney: Alfred Hitchcock: Interviews. University Press of Mississippi, 2003. A collection of Hitchcock interviews.

Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)

Haeffner, Nicholas: Alfred Hitchcock. Longman, 2005. An undergraduate-level text.

Hitchcock, Patricia; Bouzereau, Laurent: Alma Hitchcock: The Woman Behind the Man. Berkley, 2003.

Krohn, Bill: Hitchcock at Work. Phaidon, 2000. Translated from the award-winning French edition. The nitty-gritty of Hitchcock's filmmaking from scripting to post-production.

Leff, Leonard J.: Hitchcock and Selznick. Weidenfeld & Nicolson, 1987. An in-depth examination of the rich collaboration between Hitchcock and David O Selznick.

McDevitt, Jim; San Juan, Eric: A Year of Hitchcock: 52 Weeks with the Master of Suspense. Scarecrow Press, 2009, (ISBN 978-0-8108-6388-0). A comprehensive film-by-film examination of Hitchcock's artistic development from 1927 through 1976.

Modleski, Tania: The Women Who Knew Too Much: Hitchcock And Feminist Theory. Routledge, 2005 (2nd edition). A collection of critical essays on Hitchcock and his films; argues that Hitchcock's portrayal of women was ambivalent, rather than simply misogynist or sympathetic (as widely thought).

Mogg, Ken. The Alfred Hitchcock Story. Titan, 2008 (revised edition). Note: the original 1999 UK edition, from Titan, and the 2008 re-issue world-wide, also from Titan, have significantly more text than the 1999 abridged US edition from Taylor Publishing. New material on all the films.

Paglia, Camille. The Birds. British Film Institute, January 2008 ISBN 978-0-85170-651-1

Rebello, Stephen: Alfred Hitchcock and the Making of Psycho. St. Martin's, 1990. Intimately researched and detailed history of the making of Psycho,.

Rohmer, Eric; Chabrol, Claude. Hitchcock, the first forty-four films (ISBN 978-0-8044-2743-2). F. Ungar, 1979. First book-long study of Hitchock art and probably still the best one.

Rothman, William. The Murderous Gaze. Harvard Press, 1980. Auteur study that looks at several Hitchcock films intimately.

Spoto, Donald: The Art of Alfred Hitchcock. Anchor Books, 1992. The first detailed critical survey of Hitchcock's work by an American.

Spoto, Donald: The Dark Side of Genius. Ballantine Books, 1983. A biography of Hitchcock, featuring a controversial exploration of Hitchcock's psychology.

Taylor, Alan: Jacobean Visions: Webster, Hitchcock and the Google Culture, Peter Lang, 2007.

Truffaut, François: Hitchcock. Simon and Schuster, 1985. A series of interviews of Hitchcock by the influential French director.

Vest, James: Hitchcock and France: The Forging of an Auteur. Praeger Publishers, 2003. A study of Hitchcock's interest in French culture and the manner by which French critics, such as Truffaut, came to regard him in such high esteem.

Weibel, Adrian: Spannung bei Hitchcock. Zur Funktionsweise der auktorialen Suspense. (ISBN 978-3-8260-3681-1) Würzburg: Königshausen & Neumann, 2008

Wikstrom, Patrik & Grams, Martin, Jr.: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)

Wood, Robin: Hitchcock's Films Revisited. Columbia University Press, 2002 (2nd edition). A much-cited collection of critical essays, now supplemented and annotated in this second edition with additional insights and changes that time and personal experience have brought to the author (including his own coming-out as a gay man).

Contains interviews with Alfred Hitchcock and a discussion of the making of The Man Who Knew Too Much (1934) and Secret Agent (1936), which co-starred classic film actor Peter Lorre.

External links

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Coordinates	34°03′″N118°15′″N
name	Kate Nash
landscape	yes
background	solo_singer
birth name	Kate Marie Nash
born	July 06, 1987London, England
instrument	Vocals, guitar, synth, keyboard, bass, drums
genre	Indie pop, indie rock
influences	Kate Bush, Devendra Banhart, Regina Spektor Ashlee Simpson and John Cooper Clarke
occupation	Singer-songwriter
years active	2006–present
label	FictionIsland Def Jam IrelandMoshi MoshiUniversal-Island
associated acts	The ReceedersRyan JarmanSupercute!Trachtenburg Family Slideshow PlayersJason Trachtenburg
website	www.katenash.co.uk
notable instruments	}}

Kate Marie Nash (born 6 July 1987) is an English singer, songwriter, and musician. She had a UK no. 2 hit "Foundations" in 2007, followed by the platinum selling UK number 1 album Made of Bricks. She was named Best Female Artist at the 2008 BRIT Awards.

Her second studio album, entitled My Best Friend Is You was released in the United Kingdom on 19 April 2010 and in the U.S. on 11 May 2010, and spawned her second biggest chart hit to date "Do-Wah-Doo".

Currently, she is signed to Island Def Jam Ireland Recordings.

Early life

Kate Nash was born on 6 July 1987 in , Dublin Ireland, though her family soon moved to Harrow. She has an English father, Steven Nash, and an Irish mother, Marie (née Walsh), who is a nurse in a hospice. Nash became interested in music as a child and learned how to play the piano at Sandbach School. She was raised Roman Catholic attended St. John Fisher School (in Pinner) and moved onto the St Joan of Arc Catholic School, Rickmansworth. Additionally, she was taught guitar by teacher Saskia van Berkel and studied Theatre at the BRIT School for Performing Arts and Technology in South London. Furthermore, she auditioned at the Bristol Old Vic Theatre School but was rejected. In the following days, she fell down a flight of stairs, breaking her foot. During her recovery she was housebound and unable to move, so her mother bought her an electric guitar. Nash used this time to focus on her songwriting: she began to write some new songs, finish old ones and decided that she would book a gig at a local bar in Harrow called Trinity on Gayton Road for herself, to showcase her songs.

Music career

"Caroline's a Victim" (2005-2007)

Nash started her career in 2005. After several gigs, she uploaded her music to MySpace. She found a manager for herself before seeking producers for her music. Nash's debut was a single, "Caroline's a Victim" / "Birds", produced and recorded in Iceland by Valgeir Sigurðsson and released through Moshi Moshi Records in February 2007. The release was limited to 1,000 copies, and was available on only 7" vinyl. Due to demand another 1,000 copies were made and sold out. CD-promo copies were produced for distribution to the press and DJs etc., and are occasionally available for sale. It is featured on the CD Moshi Moshi Singles Compilation. A video for the song was released, directed by Kinga Burza, and received airplay on MTV2. The B-side, "Birds", later featured on her début album, Made of Bricks. Both tracks have also been released as MP3 downloads.

Made of Bricks (2007-2009)

In April 2007, Nash was signed to the Polydor offshoot Fiction Records. Nash's second single and first through Fiction Records, "Foundations", which she co-wrote with producer Paul Epworth, was released on 18 June 2007 and reached number two in the official UK Singles Chart. Following "Foundations", Fiction announced plans to bring forward the release of Nash's debut album to 6 August 2007. The album, Made of Bricks, produced by Paul Epworth, included many of the tracks she had been performing on her two nationwide tours.

The album was leaked to filesharing networks days before its commercial release, and received mixed reviews, with The Independent describing it as being in "pole position for worst album of the year." The album, however, was commercially successful and reached number 1 in the UK album charts.

During mid-2007, Nash performed at numerous festivals including Wireless Festival, Bestival, Electric Gardens, Glastonbury, Latitude, Reading and Leeds, Oxegen and T in the Park. She made her official TV performance début on Later with Jools Holland.

Throughout late 2007 and early 2008, she released three more singles from the album. "Mouthwash" and "Pumpkin Soup" both made the Top 40 in the UK Singles Chart, and although fifth single "Merry Happy" didn't chart well in the United Kingdom, the song received limited success in other countries including the US and Canada. The album topped out at the number 36 position on the United States Billboard 200 chart on 26 January 2008.

In 2010 Made of Bricks was certified Gold in Germany.

My Best Friend Is You (2009-2011)

In late March 2009, Nash revealed that she was in the early stages of recording her second album. She was introduced by her boyfriend Ryan Jarman to Bernard Butler, the producer for Duffy's debut album Rockferry and a former guitarist for Suede. He began been working with Nash, working in the studio with her over a period of months and producing her second album. In August 2009, the pair worked on eight songs at RAK Studios for the album.

On 14 January 2010, Nash revealed that the second album was complete. On 11 February, a song from the album, "I Just Love You More", was available to download free from her official website.

On 11 March 2010, Nash announced her nine-date North American tour that began on 26 April with the all-female travelling festival Lilith Fair to promote her new album My Best Friend Is You. Her opening act was Supercute!, a psychedelic pop teen girl trio from New York City. She is also scheduled to take part in the 2010 V Festival.

The first single from the album was called "Do-Wah-Doo", and was released on 12 April 2010. The album was released on 20 April. The sound was described as completely different from her debut album and having a "Girl Group" sound, taking influence from Motown stars such as Diana Ross and The Supremes. Nash explained that maturity is the reason for the change in musical style. The album has been described as having a wide variety of sounds from wall of sound, Motown to No Wave and Riot Grrrl. As of 11 May, the album was number 6 in Germany and number 16 in Europe. As of 27 May, the album was at number 62 in the United States.

Third studio album (2011-present)

Nash has been working with William Orbit, Mark Ronson and Cameron McVey on her third studio album. Nash said in Jan 2011 that she was in the early stages of writing the album.

Other music career activities

Nash co-wrote a song titled "Almost Isn’t (Good Enough) Is It?" with Trachtenburg Family Slideshow Players member Jason Trachtenburg for his 2009 album File Under Pop Male Vocal.

As a side project in late 2009, she joined a punk band called The Receeders where she plays bass. On 17 December 2009, the band played a live gig on the stage of 93 Feet East. Nash likes to refer to the band as her "side project" as she says for 2010 she will be mainly focusing on her solo material. Her music was used as part of an exhibition at the British Library tracing the history of Cockney English. The exhibition, which runs from 12 November 2010 through 11 April 2011, uses Nash's music to demonstrate today's younger urban mode of Cockney English.

On 23 March 2010 Nash, a founding director of the Featured Artists Coalition, a musicians' lobbying group, launched the Rock and Roll After-School Music Club an attempt to get secondary school girls involved in songwriting battle what Nash feels is a perception that female singers have their material written for them.

Nash is going to be working with the teen indie pop band, Supercute!, producing their first album.

Personal life

In 2008, following intensive touring Nash had what she described as a "proper breakdown". Nash experienced a relapse of obsessive-compulsive disorder, which she had a mild case of as a child.

On 2 September 2009, Nash began using her MySpace and Facebook pages to help spread the word of a young girl called Tilly who lost her hands due to meningococcal disease. She used an auction on eBay to help donate money to the five-year-old girl's parents so that she can afford to have her own pair of hands.

During the 2011 England riots, Nash volunteered to collect donations for those made homeless by riots in Tottenham, setting up her own public donation stand and delivering donation to Tottenham Leisure Center in her car.

Discography

Made of Bricks (2007)

My Best Friend Is You (2010)

Awards and nominations

On February 20, 2008, she received a BRIT Award for Best Female artist.

References

External links

Official Kate Nash website

Photos of her concert in Paris in 2010

Category:1987 births Category:Living people Category:Anti-folk musicians Category:BRIT Award winners Category:English female guitarists Category:English female singers Category:English keyboardists Category:English people of Irish descent Category:English pop singers Category:English Roman Catholics Category:English singer-songwriters Category:English vegetarians Category:Female rock singers Category:People educated at the BRIT School Category:Musicians from London Category:People from Harrow, London Category:Singers from London

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