U.S. Army soldiers show the German civilians of Weimar the corpses found in Buchenwald concentration camp.

Nazi Germany maintained concentration camps (in German Konzentrationslager, or KZ) throughout the territories it controlled. The first Nazi concentration camps set up in Germany were greatly expanded after the Reichstag fire of 1933, and were intended to hold political prisoners and opponents of the regime. The term was borrowed from the British concentration camps of the Second Anglo-Boer War.

The number of camps quadrupled between 1939 and 1942 to 300+,^[1] as slave-laborers from across Europe, Jews, political prisoners, criminals, homosexuals, gypsies, the mentally ill and others were incarcerated,^[2] generally without judicial process. Holocaust scholars draw a distinction between concentration camps (described in this article) and extermination camps, which were established by the Nazis for the industrial-scale mass murder of the predominantly Jewish ghetto and concentration camp populations.

Pre-war camps[link]

The Dachau camp was created for holding political opponents. In time for Christmas 1933 roughly 600 of the inmates were released as part of a pardoning action. The picture above depicts a speech by camp commander Theodor Eicke to prisoners about to be released.

Inspection by the Nazi party and Himmler at the Dachau Protective Custody Camp on 8 May 1936.

Use of the word "concentration" came from the idea of using documents confining to one place a group of people who are in some way undesirable. The term itself originated in the "reconcentration camps" set up in Cuba by General Valeriano Weyler in 1897. Concentration camps had in the past been used by the U.S. against Native Americans (or American Indians), by the British in the Boer wars, and wherever the "undesirables" had to be kept in check by those who incarcerated them.

When the Nazis came to power in Germany, they quickly moved to ruthlessly suppress all real or potential opposition. The general public was intimidated through arbitrary psychological terror. Between 1933 and 1945, the special courts (Sondergerichte) set up by the Nazi regime executed 12,000 German nationals.^[3] Especially during the first years of their existence these courts "had a strong deterrent effect" against any form of political protest.^[4]

The first camp in Germany, Dachau, was founded in March 1933.^[5] The press announcement said that "the first concentration camp is to be opened in Dachau with an accommodation for 5,000 persons. All Communists and – where necessary – Reichsbanner and Social Democratic functionaries who endanger state security are to be concentrated there, as in the long run it is not possible to keep individual functionaries in the state prisons without overburdening these prisons."^[5] Dachau was the first regular concentration camp established by the German coalition government of National Socialist Workers' Party (Nazi Party) and the Nationalist People's Party (dissolved on 6 July 1933). Heinrich Himmler, then Chief of Police of Munich, officially described the camp as "the first concentration camp for political prisoners."^[5]

Dachau served as a prototype and model for the other Nazi concentration camps. Almost every community in Germany had members taken there. The newspapers continuously reported of "the removal of the enemies of the Reich to concentration camps" making the general population more aware of their presence. There were jingles warning as early as 1935: Dear God, make me dumb, that I may not to Dachau come.^[6]

Between 1933 and the fall of Nazi Germany in 1945, more than 3.5 million Germans were forced to spend time in concentration camps and prisons for political reasons,^[7][8][9] and approximately 77,000 Germans were executed for one or another form of resistance by Special Courts, courts-martial, and the civil justice system. Many of these Germans had served in government, the military, or in civil positions, which enabled them to engage in subversion and conspiracy against the Nazis.^[10]

As a result of the Holocaust, the term "concentration camp" carries many of the connotations of "extermination camp" and is sometimes used synonymously. Because of these ominous connotations, the term "concentration camp", originally itself a euphemism, has been replaced by newer terms such as internment camp, resettlement camp, detention facility, etc., regardless of the actual circumstances of the camp, which can vary a great deal.

World War II[link]

Jewish prisoners are issued food on a building site at Salaspils concentration camp in 1941.

After September 1939, with the beginning of the Second World War, concentration camps became places where millions of ordinary people were enslaved as part of the war effort, often starved, tortured and killed.^[11] During the War, new Nazi concentration camps for "undesirables" spread throughout the continent. According to statistics by the German Ministry of Justice, about 1,200 camps and subcamps were run in countries occupied by Nazi Germany,^[12] while the Jewish Virtual Library estimates that the number of Nazi camps was closer to 15,000 in all of occupied Europe^[13] and that many of these camps were created for a limited time before being demolished.^[13] Camps were being created near the centers of dense populations, often focusing on areas with large communities of Jews, Polish intelligentsia, Communists or Roma. Since millions of Jews lived in pre-war Poland, most camps were located in the area of General Government in occupied Poland, for logistical reasons. The location also allowed the Nazis to quickly remove the German Jews from within Germany proper. In 1942, the SS built a network of Extermination camps to systematically kill millions of prisoners by gassing. The extermination camps (Vernichtungslager) and death camps (Todeslager) were camps whose primary function was genocide. The Nazis themselves distinguished between concentration camps and the extermination camps.^[14][15] The British intelligence service had information about the concentration camps, and in 1942 Jan Karski delivered a thorough eyewitness account to the government.

Internees[link]

The two largest groups containing prisoners in the camps, both numbering in the millions, were the Polish Jews and the Soviet prisoners of war (POWs) held without trial or judicial process. Large numbers of Roma (or Gypsies), ethnic Poles, political prisoners, homosexuals, people with disabilities, Jehovah's Witnesses, Catholic clergy, Eastern European intellectuals and others (including common criminals, as declared by the Nazis). In addition, a small number of Western Allied aviators were sent to concentration camps as spies.^[16] Western Allied POWs who were Jews, or whom the Nazis believed to be Jewish, were usually sent to ordinary POW camps; however, a small number were sent to concentration camps under antisemitic policies.^[17]

Sometimes the concentration camps were used to hold important prisoners, such as the generals involved in the attempted assassination of Hitler; U-boat Captain-turned-Lutheran pastor Martin Niemöller; and Admiral Wilhelm Canaris, who was interned at Flossenbürg on February 7, 1945, until he was hanged on April 9, shortly before the war’s end.

In most camps, prisoners were forced to wear identifying overalls with colored badges according to their categorization: red triangles for Communists and other political prisoners, green triangles for common criminals, pink for homosexual men, purple for Jehovah's Witnesses, black for Gypsies and asocials, and yellow for Jews.^[18]

Treatment[link]

Starving prisoners in Mauthausen concentration camp liberated on May 5, 1945.

A concentration camp victim identifies an SS guard in June 1945.

Many of the prisoners died in the concentration camps through deliberate maltreatment, disease, starvation, and overwork, or were executed as unfit for labor. Prisoners were transported in inhumane conditions by rail freight cars, in which many died before reaching their destination. The prisoners were confined to the boxcars for days or even weeks, with little or no food or water. Many died of dehydration in the intense heat of summer or froze to death in winter. Concentration camps also existed in Germany itself, and while they were not specifically designed for systematic extermination, many of their inmates perished because of harsh conditions or were executed.

In the early spring of 1941, the SS – along with doctors and officials of the T-4 Euthanasia Program – introduced the Action 14f13 programme meant for extermination of selected concentration camp prisoners.^[19] The Inspectorate of the Concentration Camps categorized all files dealing with the death of prisoners as 14f, and those of prisoners sent to the T-4 gas chambers as 14f13. Under the language regulations of the SS, selected prisoners were designated for "special treatment (German: Sonderbehandlung) 14f13". Prisoners were officially selected based on their medical condition; namely, those permanently unfit for labor due to illness. Unofficially, racial and eugenic criteria were used: Jews, the handicapped, and those with criminal or antisocial records were selected.^[20]:p.144 For Jewish prisoners there was not even the pretense of a medical examination: the arrest record was listed as a physician’s “diagnosis”.^{[20]:pp.147-148} In early 1943, as the need for labor increased and the gas chambers at Auschwitz became operational, Heinrich Himmler ordered the end of Action 14f13.^[20]:p.150

After 1942, many small subcamps were set up near factories to provide forced labor. IG Farben established a synthetic rubber plant in 1942 at Monowitz concentration camp (Auschwitz III); other camps were set up next to airplane factories, coal mines and rocket propellant plants. Conditions were brutal and prisoners were often sent to the gas chambers or killed if they did not work quickly enough.

After much consideration, the extermination of the Jewish prisoners (the “Final Solution”) was announced to high ranking officials at the Wannsee Conference in 1942.^{[citation needed]}

Towards the end of the war, the camps became sites for medical experiments. Eugenics experiments, freezing prisoners to determine how downed pilots were affected by exposure, and experimental and lethal medicines were all tried at various camps. Female prisoners were routinely raped and degraded in the camps.^[21]

Liberation[link]

The camps were liberated by the Allied and Soviet forces between 1944 and 1945. The first major camp, Majdanek, was discovered by the advancing Soviets on July 23, 1944. Auschwitz was liberated, also by the Soviets, on January 27, 1945; Buchenwald by the Americans on April 11; Bergen-Belsen by the British on April 15; Dachau by the Americans on April 29; Ravensbrück by the Soviets on the same day; Mauthausen by the Americans on May 5; and Theresienstadt by the Soviets on May 8.^[22] Treblinka, Sobibor, and Bełżec were never liberated, but were destroyed by the Nazis in 1943. Colonel William W. Quinn of the U.S. 7th Army said of Dachau: "There our troops found sights, sounds, and stenches horrible beyond belief, cruelties so enormous as to be incomprehensible to the normal mind."^[23][24]

In most of the camps discovered by the Soviets, almost all the prisoners had already been removed, leaving only a few thousand alive—7,000 inmates were found in Auschwitz, including 180 children who had been experimented on by doctors.^[25] Some 60,000 prisoners were discovered at Bergen-Belsen by the British 11th Armoured Division,^[26] 13,000 corpses lay unburied, and another 10,000 died from typhus or malnutrition over the following weeks.^[27] The British forced the remaining SS guards to gather up the corpses and place them in mass graves.^[28]

Types of camps[link]

Commander-in-Chief of all Allied Forces, General Dwight D. Eisenhower witnesses the corpses found at Ohrdruf forced labor camp in May 1945.

According to Moshe Lifshitz,^[29] the Nazi camps divided as follows:

• Hostage camps: camps where hostages were held and killed as reprisals.
• Labor camps: concentration camps where interned inmates had to do hard physical labor under inhumane conditions and cruel treatment. Some of these camps were sub-camps of bigger camps, or "operational camps", established for a temporary need.
• POW camps: concentration camps where prisoners of war were held after capture. POWs were usually soon assigned to labor camps.
• Camps for rehabilitation and re-education of Poles: camps where the intelligentsia of the ethnic Poles were held, and "re-educated" according to Nazi values as slaves.
• Transit and collection camps: camps where inmates were collected and routed to main camps, or temporarily held (Durchgangslager or Dulag).
• Extermination camps: These camps differed from the rest, since not all of them were also concentration camps. Although none of the categories is independent, and many camps could be classified as a mixture of several of the above, and all camps had some of the elements of an extermination camp, systematic extermination of new-arrivals occurred in very specific camps. Of these, four were extermination camps, where all new-arrivals were simply killed – the "Aktion Reinhard" camps (Treblinka, Sobibor and Belzec), together with Chelmno. Two others (Auschwitz and Majdanek) were combined concentration and extermination camps. Others like Maly Trostenets were at times classified as "minor extermination camps".^{[citation needed]}

Post-war use[link]

Though most Nazi concentration and extermination camps were destroyed after the war, some were made into permanent memorials. In Communist Poland, some camps such as Majdanek, Jaworzno, Potulice and Zgoda were used to hold German prisoners of war, suspected Nazis and collaborators, anti-Communists and other political prisoners, as well as civilian members of the German, Silesian and Ukrainian ethnic minorities. Currently, there are memorials to both camps in Potulice; they have helped to enable a German-Polish discussion on historical perception of World War II. In East Germany (Buchenwald and Sachsenhausen), concentration and extermination camps were used for similar purposes. Dachau concentration camp was used as a prison for arrested Nazis.

See also[link]

Wikimedia Commons has media related to: Nazi concentration camps

• Nazi guards
• German camps in occupied Poland during World War II
• Identification in Nazi camps
• Neue Bremm
• Soviet-era camps
• Polenlager

References[link]

External links[link]

• The World of the Camps: Labor and Concentration Camps on the Yad Vashem website
• Pages show pictures and videos of the day taken at places connected with World War II (Second World War)
• Yad VaShem—The Holocaust Martyrs' and Heroes' Remembrance Authority
• United States Holocaust Memorial Museum Personal Histories - Camps at United States Holocaust Memorial Museum
• The Holocaust History Project
• Official U.S. National Archive Footage of Nazi camps
• Holocaust sites in Germany, Austria, Poland, Czech Republic, France
• Concentration Camps at Jewish Virtual Library
• Memory of the Camps, as shown by PBS Frontline
• Podcast with one of 2,000 Danish policemen in Buchenwald
• Nazi Concentration Camp Page with links to original documents

Internment camp for Japanese-Canadians in British Columbia during World War II.

Internment is the imprisonment or confinement^[1] of people, commonly in large groups, without trial. The Oxford English Dictionary (1989) gives the meaning as: "The action of 'interning'; confinement within the limits of a country or place."

Most modern usage is about individuals, and there is a distinction between internment, which is being confined usually for preventive or political reasons, and imprisonment, which is being closely confined as a punishment for crime.

Internment also refers to the practice of neutral countries in time of war in detaining belligerent armed forces and equipment in their territories under the Second Hague Convention.^[2]

Early civilizations such as Assyria used forced resettlement of populations as a means of controlling territory,^[3] but it was not until much later in the late 19th and 20th centuries that records exist of groups of civilian non-combatants being concentrated into large prison camps.

The Universal Declaration of Human Rights restricts the use of internment. Article 9 states that "No one shall be subjected to arbitrary arrest, detention or exile."

Internment camp[link]

An internment camp is a large detention center created for political opponents, enemy aliens, people with mental illness, members of specific ethnic or religious groups, civilian inhabitants of a critical war-zone, or other groups of people, usually during a war. The term is used for facilities where the inmates were selected by some generalized criteria, rather than detained as individuals after due process of law fairly applied by a judiciary. As a result of the mistreatment of civilians interned during recent conflicts, the Fourth Geneva Convention was established in 1949 to provide for the protection of civilians during times of war "in the hands" of an enemy and under any occupation by a foreign power.^[4] It was ratified by 194 nations. Prisoner-of-war camps are internment camps intended specifically for holding members of an enemy's armed forces as defined in the Third Geneva Convention, and the treatment of whom is specified in that Convention.

A layout for an internment/resettlement facility for dislocated civilians

Concentration camp[link]

Boer women and children in a British-run concentration camp in South Africa (1900-1902)

The Random House Dictionary defines the term "concentration camp" as: "a guarded compound for the detention or imprisonment of aliens, members of ethnic minorities, political opponents, etc.", and, the American Heritage Dictionary defines it as: "A camp where civilians, enemy aliens, political prisoners, and sometimes prisoners of war are detained and confined, typically under harsh conditions."

Earliest usage and origins of the term[link]

Polish historian Władysław Konopczyński has suggested the first concentration camps were created in Poland in the 18th century, during the Bar Confederation rebellion, when the Russian Empire established three concentration camps for Polish rebel captives awaiting deportation to Siberia.^[5]

The earliest of these camps may have been those set up in the United States for Cherokee and other Native Americans in the 1830s; however, the term originated in the reconcentrados (reconcentration camps) set up by the Spanish military in Cuba during the Ten Years' War (1868–1878) and by the United States during the Philippine–American War (1899–1902).^[6]

The English term "concentration camp" grew in prominence during the Second Boer War (1899–1902), when they were operated by the British in South Africa.^[6][7]

There were a total of 45 tented camps built for Boer internees and 64 for black Africans. Of the 28,000 Boer men captured as prisoners of war, 25,630 were sent overseas. The vast majority of Boers remaining in the local camps were women and children.

Concentration camps were used in German South-West Africa during the Herero genocide between 1904 and 1907. The camp at Shark Island, Namibia was of the nature of an extermination camp, arguably the world's first.^[8]

Shift in meaning[link]

Jewish slave laborers in the Buchenwald concentration camp near Jena, 16 April 1945. Second row, seventh from left is Elie Wiesel.

During the 20th century, the arbitrary internment of civilians by the state reached a climax with Nazi concentration camps (1933–1945). As a result, the term "concentration camp" carries many of the connotations of "death camp" or "extermination camp", and is sometimes used synonymously.

However, even Nazi concentration camps were not necessarily death camps. For example, some camps were sources of slave labor: the inmates were exploited rather than killed, although many were worked to death or killed for refusing to work.

List of camps[link]

See also[link]

• Prisoner-of-war camp
• Extermination camp
• Labor camps
• Quasi-criminal
• Extrajudicial detention
• Civilian Internee

References[link]

Wikimedia Commons has media related to: Internment

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

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

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

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

Early life[link]

Hitchcock mosaic at Leytonstone Station

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

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

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

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

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

Inter-war British career[link]

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

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

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

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

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

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

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

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

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

Hollywood[link]

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

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

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

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

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

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

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

1940s films[link]

Cary Grant and Ingrid Bergman in Notorious (1946)

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

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

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

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

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

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

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

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

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

Grant and Bergman in Notorious (1946)

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

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

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

1950s: Peak years[link]

James Stewart and Grace Kelly in Rear Window (1954)

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

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

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

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

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

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

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

James Stewart and Kim Novak in Vertigo (1958)

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

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

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

Cary Grant in North by Northwest (1959)

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

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

From 1960[link]

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

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

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

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. He filmed two spy thrillers set with Cold War-related themes. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, 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. Topaz (1969), (based on a Leon Uris novel), is partly set in Cuba. Both received mixed reviews from critics.

Hitchcock at work on location in San Francisco for Family Plot

In 1972, Hitchcock returned to London to film Frenzy. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre 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).^[89] 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.^[89] 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.^[90] 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".^[91] 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 project and death[link]

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.^[92][93]