Look up Alfred in Wiktionary, the free dictionary.

Alfred may refer to:

• Alfred (bishop) (died 943)
• Alfred (name)
• Alfred the Great (849–899), king of Wessex
• Alfred Aetheling (died 1036), son of King Ethelred II of England

In geography:

• Lake Alfred, Florida
• Alfred, Maine
• Alfred (town), New York
• Alfred (village), New York
• Alfred, North Dakota
• Alfred, Texas
• Alfred, Ontario, Canada
• Alfred Island, Nunavut, Canada
• Alfred Town, a village in New South Wales, Australia
• Mount Alfred, British Columbia, Canada

In fiction:

• Alfred, a fictional penguin in the comic strip Zig et Puce
• Alfred J. Kwak, a Dutch animated television series
• Alfred Pennyworth, a DC comic book character who serves as Batman's butler
• Alfred Brooks, the main character in The Contender, created by Robert Lipsyte

In music:

• Alfred (Arne opera), a 1740 masque by Thomas Arne
• Alfred (Dvořák opera), an 1870 opera by Antonín Dvořák

Ships:

• HMS Alfred (1778)
• HMS King Alfred
• HMS Royal Alfred (1864)
• USS Alfred (1774)

Other:

• Alfred (racehorse), a leading competitor for the 1849 Grand National Steeplechase that finished fourth
• Alfred (software), an application launcher for Mac OS X
• Alfred Music Publishing, a sheet music publisher
• Alfred State College, New York
• Alfred University, New York
• The Alfred Hospital, a hospital in Melbourne, Australia

See also[link]

• Alfredo

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Alfred Wegener
Alfred Wegener, around 1925
Born	(1880-11-01)November 1, 1880 Berlin, German Empire
Died	November 1930 (aged 50) Clarinetania, Greenland
Residence	Germany
Citizenship	German
Nationality	German
Fields	Meteorology, Geology, Astronomy
Alma mater	University of Berlin
Doctoral advisor	Julius Bauschinger
Known for	Continental drift theory
Influenced	Johannes Letzmann
Signature

Alfred Lothar Wegener (November 1, 1880 – November 1930) was a German polar researcher, geophysicist and meteorologist.

During his lifetime he was primarily known for his achievements in meteorology and as a pioneer of polar research, but today he is most remembered for first proposing the theory of continental drift (Kontinentalverschiebung) in 1912, which hypothesized that the continents were slowly drifting around the Earth. His hypothesis was controversial and not widely accepted until the 1950s, when numerous discoveries such as palaeomagnetism provided strong support for continental drift, and thereby a substantial basis for today's model of Plate tectonics.^[1][2] Wegener was involved in several expeditions to Greenland to study polar air circulation before the existence of the jet stream was accepted. Expedition participants made many meteorological observations and achieved the first-ever overwintering on the inland Greenland ice sheet as well as the first-ever boring of ice cores on a moving Arctic glacier.

Biography[link]

Early life and education[link]

On November 1, 1880, Alfred Wegener was born in Berlin as the youngest of five children in a clergyman's family. His father, Richard Wegener, was a theologian and teacher of classical languages at the Berlinisches Gymnasium zum Grauen Kloster. In 1886 his family purchased a former manor house near Rheinsberg, which they used as a vacation home. Today there is an Alfred Wegener Memorial site and tourist information office in a nearby building that was once the local schoolhouse^[3].

Commemorative plaque on Wegener's former school in Wallstrasse

Wegener attended school at the Köllnische Gymnasium on Wallstrasse in Berlin (a fact which is memorialized on a plaque on this protected building, now a school of music), graduating as the best in his class. Afterward he studied Physics, meteorology and Astronomy in Berlin, Heidelberg and Innsbruck. From 1902 to 1903 during his studies he was an assistant at the Urania astronomical observatory. He obtained a doctorate in astronomy in 1905 based on a dissertation written under the supervision of Julius Bauschinger at Friedrich Wilhelms University (today Humboldt University), Berlin. Wegener had always maintained a strong interest in the developing fields of meteorology and climatology and his studies afterwards focused on these disciplines.

In 1905 Wegener became an assistant at the Aeronautischen Observatorium Lindenberg near Beeskow. He worked there with his brother Kurt, two years his senior, who was likewise a scientist with an interest in meteorology and polar research. The two pioneered the use of weather balloons to track air masses. On a balloon ascent undertaken to carry out meteorological investigations and to test a celestial navigation method using a particular type of quadrant (“Libellenquadrant”), the Wegener brothers set a new record for a continuous balloon flight, remaining aloft 52.5 hours from April 5-7, 1906.^[4]

First Greenland expedition and years in Marburg[link]

In that same year 1906, Wegener participated in the first of his three Greenland expeditions, later regarding this experience as marking a decisive turning point in his life. The expedition was led by the Dane Ludvig Mylius-Erichsen and charged with studying the last unknown portion of the northeastern coast of Greenland. During the expedition Wegener constructed the first meteorological station in Greenland near Danmarkshavn, where he launched kites and tethered balloons to make meteorological measurements in an Arctic climatic zone. Here Wegener also made his first acquaintance with death in a wilderness of ice when the expedition leader and two of his colleagues died on an exploratory trip undertaken with sled dogs.

After his return in 1908 and until World War I, Wegener was a lecturer in meteorology, applied astronomy and cosmic physics at the University of Marburg. His students and colleagues in Marburg particularly valued his ability to clearly and understandably explain even complex topics and current research findings without sacrificing precision. His lectures formed the basis of what was to become a standard textbook in meteorology, first written In 1909/1910: Thermodynamik der Atmosphäre (Thermodynamics of the Atmosphere), in which he incorporated many of the results of the Greenland expedition.

On 6 January 1912 he publicized his first thoughts about continental drift in a lecture at a session of the Geologischen Vereinigung at the Senckenberg-Museum, Frankfurt/M and in three articles in the journal Petermanns Geographischen Mitteilungen^[5]

Second Greenland expedition[link]

After a stopover in Iceland to purchase and test ponys as pack animals, the expedition arrived in Danmarkshavn. Even before the trip to the inland ice began the expedition was almost annihilated by a calving glacier. The Danish expedition leader, Johan Peter Koch, broke his leg when he fell into a glacier crevasse and spent months recovering in a sickbed. Wegener and Koch were the first to winter on the inland ice in northeast Greenland.^[6] Inside their hut they drilled to a depth of 25 m with an auger. In summer 1913 the team crossed the inland ice, the four expedition participants covering a distance twice as long as Fridtjof Nansen's southern Greenland crossing in 1888. Only a few kilometers from the western Greenland setlement of Kangersuatsiaq the small team ran out of food while struggling to find their way through difficult glacial breakup terrain. But at the last moment, after the last pony and dog had been eaten, they were picked up at a fjord by the clergyman of Upernavik, who just happened to be visiting a remote congregation at the time.

Later in 1913 after his return Wegener married Else Köppen, the daughter of his former teacher and mentor, the meteorologist Wladimir Köppen. The young pair lived in Marburg, where Wegner resumed his university lectureship.

World War I[link]

As an infantry reserve officer Wegener was immediately conscripted when war began in 1914. On the war front in Belgium he experienced fierce fighting but his term lasted only a few months: after being wounded twice he was declared unfit for active service and assigned to the army weather service. This activity required him to travel constantly between various weather stations in Germany, on the Balkans, on the Western Front and in the Baltic region.

Nevertheless he was able in 1915 to complete the first version of his major work, Die Entstehung der Kontinente und Ozeane (“The Origin of Continents and Oceans”). His brother Kurt remarked that Alfred Wegener’s motivation was to “reestablish the connection between geophysics on the one hand and geography and geology on the other, which had become completely ruptured because of the specialized development of these branches of science.”

Interest in this small publication was however low, also because of wartime chaos. By the end of the war Wegener had published almost 20 additional meteorological and geophysical papers in which he repeatedly embarked for new scientific frontiers. In 1917 he undertook a scientific investigation of the Treysa meteorite.

Postwar period and third expedition[link]

Wegener obtained a position as a meteorologist at the German Naval Observatory (Deutsche Seewarte) and moved to Hamburg with his wife and their two daughters. In 1921 he was appointed senior lecturer at the new University of Hamburg. From 1919 to 1923 Wegener worked on Die Klimate der geologischen Vorzeit (“The Climates of the Geological Past”), published together with his father-in-law, Wladimar Köppen. In 1922 the third, fully revised edition of “The Origin of Continents and Oceans” appeared, and discussion began on his theory of continental drift, first in the German language area and later internationally. Withering criticism was the response of most experts.

In 1924 Wegener was appointed to a professorship in meteorology and geophysics in Graz, which finally provided him with a secure position for himself and his family. He concentrated on physics and the optics of the atmosphere as well as the study of tornados. Scientific assessment of his second Greenland expedition (ice measurements, atmospheric optics, etc.) continued to the end of the 1920s.

In November 1926 Wegener presented his continental drift theory at a symposium of the American Association of Petroleum Geologists in New York City, again earning rejection from everyone but the chairman. Three years later the fourth and final expanded edition of “The Origin of Continents and Oceans” appeared.

In 1929 Wegener embarked on his third trip to Greenland, which laid the groundwork for a later main expedition and included a test of an innovative, propeller-driven snowmobile.

Fourth and last expedition[link]

Wegener (left) and Villumsen (right) in Greenland; November 1st, 1930.

Wegener's last Greenland expedition was in 1930. The 14 participants under his leadership were to establish three permanent stations from which the thickness of the Greenland ice sheet could be measured and year-round Arctic weather observations made. Wegener felt personally responsible for the expedition's success, as the German government had contributed $120,000 ($1.5 million in 2007 dollars) at a time when Germans were starving to death owing to post-war shortages. Success depended on enough provisions being transferred from West camp to Eismitte ("mid-ice") for two men to winter there, and this was a factor in the decision that led to his death. Owing to a late thaw, the expedition was six weeks behind schedule and, as summer ended, the men at Eismitte sent a message that they had insufficient fuel and so would return on October 20.

Vehicles used by the 1930 expedition (stored).

On September 24, although the route markers were by now largely buried under snow, Wegener set out with thirteen Greenlanders and his meteorologist Fritz Loewe to supply the camp by dog sled. During the journey the temperature reached −60 °C (−76 °F) and Loewe's toes became so frostbitten they had to be amputated with a penknife without anesthetic. Twelve of the Greenlanders returned to West camp. On October 19, the remaining three members of the expedition reached Eismitte. There being only enough supplies for three at Eismitte, Wegener and Rasmus Villumsen took two dog sleds and made for West camp. They took no food for the dogs and killed them one by one to feed the rest until they could run only one sled. While Villumsen rode the sled, Wegener had to use skis. They never reached the camp. The expedition was completed by his brother, Kurt Wegener.

Death[link]

Six months later, on May 12, 1931, Wegener's body was found halfway between Eismitte and West camp. It had been buried (by Villumsen) with great care and a pair of skis marked the grave site. Wegener had been fifty years of age and a heavy smoker and it was believed that he had died of heart failure brought on by overexertion. His body was reburied in the same spot by the team that found him and the grave was marked with a large cross. After burying Wegener, Villumsen had resumed his journey to West camp but was never seen again. He was twenty three when he died and it is estimated that his body, and Wegener's diary, now lie under more than 100 metres (330 ft) of accumulated ice and snow.

Continental drift theory[link]

Alfred Wegener first thought of this idea by noticing that the different large landmasses of the Earth almost fit together like a jigsaw. The Continental shelf of the Americas fit closely to Africa and Europe, and Antarctica, Australia, India and Madagascar fit next to the tip of Southern Africa. But Wegener only took action after reading a paper in Autumn 1911 and seeing that a flooded land-bridge contradicts isostasy.^[7] Wegener's main interest was meteorology, and he wanted to join the Denmark-Greenland expedition scheduled for mid 1912. So he hurried up to present his Continental Drift hypothesis on January 6, 1912. He analyzed either side of the Atlantic Ocean for rock type, geological structures and fossils. He noticed that there was a significant similarity between matching sides of the continents, especially in fossil plants. His hypothesis was thus strongly supported by the physical evidence, and was a pioneering attempt at a rational explanation.

Fossil patterns across continents (Gondwanaland).

From 1912, Wegener publicly advocated the theory of "continental drift", arguing that all the continents were once joined together in a single landmass and have drifted apart. He supposed the cause might be the centrifugal force of the Earth's rotation ("Polflucht") or the astronomical precession. Wegener also speculated on sea-floor spreading and the role of the mid-ocean ridges, stating: the Mid-Atlantic Ridge ... zone in which the floor of the Atlantic, as it keeps spreading, is continuously tearing open and making space for fresh, relatively fluid and hot sima [rising] from depth.^[8] However, he did not pursue these ideas in his later works.

In 1915, in The Origin of Continents and Oceans (Die Entstehung der Kontinente und Ozeane), Wegener published the theory that there had once been a giant continent, he named "Urkontinent" (German word meaning "origin of the continents",^[9] in a way equivalent to the Greek "Pangaea",^[10] meaning "All-Lands" or "All-Earth") and drew together evidence from various fields. Expanded editions during the 1920s presented the accumulating evidence. The last edition, just before his untimely death, revealed the significant observation that shallower oceans were geologically younger.

Wegener during the J.P. Koch's Expedition 1912 - 1913 in the winter base "Borg".

Reaction[link]

In his work, Wegener presented a large amount of very strong evidence in support of continental drift, but the mechanism remained elusive. While his ideas attracted a few early supporters such as Alexander Du Toit from South Africa and Arthur Holmes in England, the hypothesis was generally met with skepticism from largely conservative scientists, who were resistant to any change in the status quo. The one American edition of Wegener's work, published in 1925, was received so poorly that the American Association of Petroleum Geologists organized a symposium specifically in opposition to the continental drift hypothesis. Its opponents could argue, as did the Leipziger geologist Franz Kossmat, that the oceanic crust was too "firm" for the continents to "simply plough through", a suggestion which ignored the plasticity of all rocks at depth and at high temperatures and pressures. The comment also ignored the vast time-scale over which continental drift has occurred, effectively the total age of the earth of about 4.5 billion years.

In 1943 George Gaylord Simpson wrote a vehement attack on the theory (as well as the rival theory of sunken land bridges) and put forward his own permanentist views.^[11] Alexander du Toit wrote a rejoinder in the following year,^[12] but G.G.Simpson's influence was so powerful that even in countries previously sympathetic towards continental drift, like Australia, Wegener's hypothesis fell out of favour.

Modern developments[link]

The tectonic plates of the world were mapped in the second half of the 20th century.

In the early 1950s, the new science of paleomagnetism pioneered at Cambridge University by S. K. Runcorn and at Imperial College by P.M.S. Blackett was soon producing data in favour of Wegener's theory. By early 1953 samples taken from India showed that the country had previously been in the Southern hemisphere as predicted by Wegener. By 1959, the theory had enough supporting data that minds were starting to change, particularly in the United Kingdom where, in 1964, the Royal Society held a symposium on the subject.^[13]

Additionally, the 1960s saw several developments in geology, notably the discoveries of seafloor spreading and Wadati-Benioff zones, led to the rapid resurrection of the continental drift hypothesis and its direct descendant, the theory of plate tectonics. Alfred Wegener was quickly recognized as the founding father of one of the major scientific revolutions of the 20th century.

With the advent of the Global Positioning System (GPS), it became possible to measure continental drift directly.^[14]

Awards and honors[link]

The Alfred Wegener Institute for Polar and Marine Research in Bremerhaven, Germany, was established in 1980 on his centenary. It awards the Wegener Medal in his name.^[15] The crater Wegener on the Moon and the crater Wegener on Mars, as well as the asteroid 29227 Wegener and the peninsula where he died in Greenland (Wegener Peninsula near Ummannaq, 71°12′N 51°50′W / 71.2°N 51.833°W / 71.2; -51.833), are named after him.^[16]

The European Geosciences Union sponsors an Alfred Wegener Medal & Honorary Membership "for scientists who have achieved exceptional international standing in atmospheric, hydrological or ocean sciences, defined in their widest senses, for their merit and their scientific achievements."^[17]

See also[link]

• Hair ice

References[link]

This article incorporates information from the equivalent article on the German Wikipedia.

Selected works[link]

• Wegener, Alfred (1911) (in German). Thermodynamik der Atmosphäre [Thermodynamics of the Atmosphere]. Leipzig: Verlag Von Johann Ambrosius Barth. http://books.google.com/?id=slxDAAAAIAAJ&pg=PR1&dq=alfred+wegener. 
• Wegener, Alfred (1912). "Die Herausbildung der Grossformen der Erdrinde (Kontinente und Ozeane), auf geophysikalischer Grundlage" (in German). Petermanns Geographische Mitteilungen 63: 185–195, 253–256, 305–309. Presented at the annual meeting of the German Geological Society, Frankfurt am Main (January 6, 1912). 
• Wegener, Alfred (July 1912). "Die Entstehung der Kontinente" (in German). Geologische Rundschau 3 (4): 276–292. Bibcode 1912GeoRu...3..276W. DOI:10.1007/BF02202896. 
• Wegener, Alfred (1922) (in German). Die Entstehung der Kontinente und Ozeane [The Origin of Continents and Oceans]. ISBN 3-443-01056-3. LCCN unk83068007. 
• Wegener, Alfred (1929) (in German). Die Entstehung der Kontinente und Ozeane [The Origin of Continents and Oceans] (4 ed.). Braunschweig: Friedrich Vieweg & Sohn Akt. Ges. ISBN 3-443-01056-3. 
• Wegener, Elsie; Loewe, Fritz, eds. (1939). Greenland Journey, The Story of Wegener’s German Expedition to Greenland in 1930-31 as told by Members of the Expedition and the Leader’s Diary. London: Blackie & Son Ltd.. Translated from the seventh German edition by Winifred M. Deans. 
• Wegener, Alfred (1966). The Origin of Continents and Oceans. New York: Dover. ISBN 0-486-61708-4. Translated from the fourth revised German edition by John Biram. 
• Wegener, Alfred (1968). The Origin of Continents and Oceans. London: Methuen. ISBN 0-486-61708-4. Translated from the fourth German edition by John Biram with an introduction by B.C. King. 

External links[link]

Wikimedia Commons has media related to: Alfred Wegener

• Wegener Institute website
• USGS biography of Wegener
• Wegener biography at Pangaea.org
• Alfred Wegener (1880-1930) - Biographical material

A reconstruction of the helmet found at Sutton Hoo, probably belonging to Raedwald of East Anglia, who died around 624. Based on a Roman parade-helmet design, it has decorations similar to those found in contemporary Swedish helmets found at Old Uppsala.

The term Anglo-Saxon is used by some historians to designate the Germanic tribes who invaded and settled the south and east of Britain beginning in the early 5th century and the period from their creation of the English nation up to the Norman conquest. The Anglo-Saxon era denotes the period of English history between about 550 and 1066.^[1][2] The term is also used for the language, now known as Old English, that was spoken and written by the Anglo-Saxons and their descendants in England (and part of southeastern Scotland) between at least the mid-5th century and the mid-12th century.^[3]

The Benedictine monk Bede, writing in the early 8th century, identified the English as the descendants of three Germanic tribes:^[4]

• the Angles, who may have come from Angeln (in modern Germany): Bede wrote that their whole nation came to Britain,^[5] leaving their former land empty. The name England (Old English: Engla land or Ængla land) originates from this tribe;^[6]
• the Saxons, from Lower Saxony (in modern Germany; German: Niedersachsen) and the Low Countries;
• the Jutes, possibly from the Jutland peninsula (in modern Denmark; Danish: Jylland).

Their language, Old English, which derived from Ingvaeonic West Germanic dialects, transformed into Middle English from the 11th century. Old English was divided into four main dialects: West Saxon, Mercian, Northumbrian and Kentish.

Etymology[link]

The term Anglo-Saxon can be found in documents produced in the time of Alfred the Great, who seems to have frequently used the titles rex Anglorum Saxonum and rex Angul-Saxonum (king of the English Saxons).^[7] The Old English terms ænglisc ('Angle-kin') and Angelcynn ('gens Anglorum') had already lost their original sense of referring to the Angles, as distinct from the Saxons, when they are first attested. In their earliest sense they referred to the nation of Germanic peoples who settled eastern Britain from the 5th century.^{[citation needed]} The indigenous Britons, who wrote in both Latin and Welsh, referred to these invaders as 'Saxones' or 'Saeson' – the word Saeson is the modern Welsh word for 'English people';^[8] the equivalent word in Scottish Gaelic is Sasannach and in the Irish language, Sasanach.

The term Angli Saxones seems to have first been used in continental writing nearly a century before Alfred's time, by Paul the Deacon, historian of the Lombards, probably to distinguish the English Saxons from the continental Saxons (Ealdseaxe, literally, 'old Saxons').^{[citation needed]}

The Angles (Old English: Engle, Angle), took their name from their ancestral home in Jutland, Angul (modern Angeln), which has an area in the shape of a hook (Old English: angel, angul "fishhook", anga "hook").

History[link]

Anglo-Saxons, 500-1000 CE

The history of Anglo-Saxon England broadly covers early medieval England, from the end of Roman rule and the establishment of numerous Anglo-Saxon kingdoms in the 5th century until the Norman conquest of England by the Normans in 1066.

Origins (400–600)[link]

The migration of Germanic peoples to Britain from what is now northern Germany, the northern part of the Netherlands and southern Scandinavia is attested from the 5th century (e.g. Undley bracteate). Based on Bede's Historia ecclesiastica gentis Anglorum, the intruding population is traditionally divided into Angles, Saxons and Jutes, but their composition was likely less clear-cut and may also have included peoples such as the Frisii and the Franks. The Anglo-Saxon Chronicle may contain the first recorded indications of the movement of these Germanic tribes to Britain.

Heptarchy (600–800)[link]

Christianisation of the Anglo-Saxons began in 597 and was at least nominally completed in 686. Throughout the 7th and 8th centuries, power fluctuated between the larger kingdoms. Bede records Aethelbert of Kent as being dominant at the close of the 6th century, but power seems to have shifted northwards to the kingdoms of Mercia and Northumbria.

Aethelbert and some of the later kings of the other kingdoms were recognised by their fellow kings as Bretwalda (ruler of Britain). The so-called 'Mercian Supremacy' dominated the 8th century, though again it was not constant. Aethelbald and Offa, the two most powerful kings, achieved high status. This period has been described as the Heptarchy, though this term has now fallen out of academic use.

The word arose on the basis that the seven kingdoms of Northumbria, Mercia, Kent, East Anglia, Essex, Sussex and Wessex were the main polities of south Britain. More recent scholarship has shown that theories of the 'heptarchy' are not grounded in evidence, and it is far more likely that power fluctuated between many more 'kingdoms'. Other politically important 'kingdoms' across this period include: Hwicce, Magonsaete, Kingdom of Lindsey and Middle Anglia.

Viking Age and the Norman Conquest (800–1066)[link]

In the 9th century, the Viking challenge grew to serious proportions. Alfred the Great's victory at Edington, Wiltshire, in 878 brought intermittent peace, but with their possession of Jorvik, the Danes gained a solid foothold in England.

Some of the earliest arrivals of invaders came in the form of small groups or companies of Danish heritage. It is widely believed they left their homelands for more religious freedom as they did not like Christianity being forced upon them. There was no prior indication for them being there before their arrival and thus little resistance if any at all from locals. They attacked various locations in England, and they were seemingly sporadic. For example these raiders attacked three different locations; Hampshire, Thanet, and Cheshire around 980, but no raids were recorded afterwards for another six years. The most notable event to come from these raids however was, that it was the first time that England came into contact with any form of diplomacy from Normandy.^[9]

They became hostile towards one another by summer in the year 990. Their feud became so great that Pope John XV had to send an envoy with a treaty in order to settle their quarrel. It was a Christmas Day in the year 990 the commission was presented to King Etherlred, and soon the council drew up a set of terms which were sent to the Duke of Normandy. The doctrine stated that neither shall befriend the others enemies, and that they should accept a reparation from any damage which either could sustain from the other nation.^[10]

An important development in the 9th century was the rise of the Kingdom of Wessex; by the end of his reign Alfred was recognised as overlord by several southern kingdoms. Æthelstan was the first king to achieve direct rule over what is considered "England".

Near the end of the 10th century, there was renewed Scandinavian interest in England, with the conquests of Sweyn of Denmark and his son Cnut the Great. By 1066 there were three lords with claims to the English throne, resulting in two invasions and the battles of Stamford Bridge and Hastings. The latter, which heralded the Norman conquest of England, resulted in the overthrow of the Anglo-Saxon polity and its replacement with Norman rule.

After the Norman Conquest[link]

Following the conquest, the Anglo-Saxon nobility were either exiled or joined the ranks of the peasantry.^[11] It has been estimated that only about 8 per cent of the land was under Anglo-Saxon control by 1087.^[12] Many Anglo-Saxon nobles fled to Scotland, Ireland, and Scandinavia.^[13][14] The Byzantine Empire became a popular destination for many Anglo-Saxon soldiers, as the Byzantines were in need of mercenaries.^[15] The Anglo-Saxons became the predominant element in the elite Varangian Guard, hitherto a largely Scandinavian unit, from which the emperor's bodyguard was drawn and continued to serve the empire until the early 15th century.^[16] However, the population of England at home remained largely Anglo-Saxon; for them, little changed immediately except that their Anglo-Saxon lord was replaced by a Norman lord.^[17]

Culture[link]

Architecture[link]

Reconstruction of the Anglo-Saxon royal palace at Cheddar around 1000 AD

Early Anglo-Saxon buildings in Britain were generally simple, not using masonry except in foundations but constructed mainly using timber with thatch for roofing. Generally preferring not to settle within the old Roman cities, the Anglo-Saxons built small towns near their centres of agriculture, at fords in rivers or sited to serve as ports. In each town, a main hall was in the centre, provided with a central hearth.^[18]

There are few remains of Anglo-Saxon architecture, with but one secular work remaining above ground – a 10m. x 5m. houscarl's dwelling re-using local Roman materials.^[where?] This is still completely standing as an undivided single room with a single central north-facing door, belonging to the Godwin estates, so can be dated 1018–1066. At least fifty churches are of Anglo-Saxon origin, with many more claimed to be, in part from their dedication to local Anglo-Saxon saints, although in some cases the Anglo-Saxon part is small and much-altered. All surviving churches, except one timber church, are built of stone or brick and in some cases show evidence of re-used Roman work.

The character of Anglo-Saxon ecclesiastical buildings ranges from Celtic influenced architecture in the early period; basilica influenced Romanesque architecture; to in the later Anglo-Saxon period, an architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings.

Art[link]

Anglo-Saxon jewellery.

The Pentney hoard.

Anglo-Saxon art before roughly the time of Alfred (ruled 871–899) mostly in varieties of the Hiberno-Saxon or Insular style, a fusion of Anglo-Saxon and Celtic techniques and motifs. The Sutton Hoo treasure is an exceptional survival of very early Anglo-Saxon metalwork and jewellery, from a royal grave of the early 7th century. The period between Alfred and the Norman Conquest, with the revival of the English economy and culture after the end of the Viking raids, saw a distinct Anglo-Saxon style in art, though one in touch with trends on the Continent.

Anglo-Saxon art is mainly known today through illuminated manuscripts, including the Benedictional of St. Æthelwold (British Library) and Leofric Missal (Oxford, Bodleian Library, MS Bodl, 579), masterpieces of the late "Winchester style", which drew on Hiberno-Saxon art, Carolingian art and Byzantine art for style and iconography, and combined both northern ornamental traditions with Mediterranean figural traditions. The Harley Psalter was a copy of the Carolingian Utrecht Psalter — which was a particular influence in creating an Anglo-Saxon style of very lively pen drawings.

Manuscripts were far from the only Anglo-Saxon art form, but they have survived in much greater numbers than other types of object. Contemporaries in Europe regarded Anglo-Saxon goldsmithing and embroidery (Opus Anglicanum) as especially fine. Perhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a Norman patron from English artists working in the traditional Anglo-Saxon style. The most common example of Anglo-Saxon art is coins, with thousands of examples extant. Anglo-Saxon artists also worked in fresco, ivory, stone carving, metalwork (see Fuller brooch for example) and enamel, but few of these pieces have survived.

Language[link]

Old English, sometimes called Anglo-Saxon, was the language spoken under Alfred the Great and continued to be the common language of England (non-Danelaw) until after the Norman Conquest of 1066 when, under the influence of the Anglo-Norman language spoken by the Norman ruling class, it changed into Middle English roughly between 1150–1500.

Old English is far closer to early Germanic than Middle English. It is less Latinised and retains many morphological features (nominal and verbal inflection) that were lost during the 12th to 14th centuries. The languages today which are closest to Old English are the Frisian languages, which are spoken by a few hundred thousand people in the northern part of Germany and the Netherlands.

Before literacy in the vernacular Old English or Latin became widespread, a runic alphabet, the futhorc, was used for inscriptions. When literacy became more prevalent, a form of Latin script was used with a couple of letters derived from the futhorc: 'thorn' ‹þ› and 'wynn' ‹ƿ› (generally replaced with ‹w› in modern reproductions).

The letters regularly used in printed and edited texts of Old English are the following:

• a æ b c d ð e f g h i l m n o p r s t þ u w x y

with only rare occurrences of j, k, q, v, and z.

Law[link]

Very few law codes exist from the Anglo-Saxon period to provide an insight into legal culture beyond the influence of Roman law and how this legal culture developed over the course of time. The Saxons chopped off hands and noses for punishment (if the offender stole something or committed another crime). If someone killed a Saxon, he had to pay money called wergild, the amount varying according to the social rank of the victim.

Literature[link]

First page of the epic Beowulf

Old English literary works include genres such as epic poetry, hagiography, sermons, Bible translations, legal works, chronicles, riddles and others. In all there are about 400 surviving manuscripts from the period, a significant corpus of both popular interest and specialist research.

The most famous works from this period include the poem Beowulf, which has achieved national epic status in Britain. The Anglo-Saxon Chronicle is a collection of important early English history. Cædmon's Hymn from the 7th century is the earliest attested literary text in English.

Religion[link]

The indigenous pre-Christian belief system of the Anglo-Saxons was a form of Germanic paganism and therefore closely related to the Old Norse religion, as well as other Germanic pre-Christian cultures.

Christianity gradually replaced the indigenous religion of the English around the 7th and 8th centuries. Celtic Christianity was introduced into Northumbria and Mercia by monks from Ireland, but the Synod of Whitby settled the choice for Roman Christianity. As the new clerics became the chroniclers, the old religion was partially lost before it was recorded, and today historians' knowledge of it is largely based on surviving customs and lore, texts, etymological links and archaeological finds.

One of the few recorded references is that a Kentish King would only meet the missionary St. Augustine in the open air, where he would be under the protection of the sky god, Woden. Written Christian prohibitions on acts of paganism are one of historians' main sources of information on pre-Christian beliefs.

Despite these prohibitions, numerous elements of the pre-Christian culture of the Anglo-Saxon people survived the Christianisation process. Examples include the English language names for days of the week:

• Tiw, the Anglo-Saxon equivalent of Tyr: Tuesday
• Woden, the Anglo-Saxon equivalent of Odin: Wednesday
• Þunor, the Anglo-Saxon equivalent of Thor: Thursday
• *Fríge, the Anglo-Saxon equivalent of Frigg: Friday

Contemporary meanings[link]

"Anglo-Saxon" in linguistics is still used as a term for the original West Germanic component of the modern English language, which was later expanded and developed through the influence of Old Norse and Norman French, though linguists now more often refer to it as Old English. In the 19th century the term "Anglo-Saxon" was broadly used in philology, and is sometimes so used at present. In Victorian Britain, some writers such as Robert Knox, James Anthony Froude, Charles Kingsley^[19] and Edward A. Freeman^[20] used the term "Anglo-Saxon" to justify racism and imperialism, claiming that the "Anglo-Saxon" ancestry of the English made them racially superior to the colonised peoples. Similar racist ideas were advocated in the 19th Century United States by Samuel George Morton and George Fitzhugh.^[21]

The term "Anglo-Saxon" is sometimes used to refer to peoples descended or associated in some way with the English ethnic group. The definition has varied from time to time and varies from place to place. In contemporary Anglophone cultures outside the United Kingdom, the term is most commonly found in certain contexts, such as the term "White Anglo-Saxon Protestant" or "WASP". Such terms are often politicised, and bear little connection to the precise ethnological or historical definition of the term "Anglo-Saxon". It often encapsulates socio-economic identifiers more than ethnic ones.^{[citation needed]}

Outside Anglophone countries, both in Europe and in the rest of the world, the term "Anglo-Saxon" and its direct translations are used to refer to the Anglophone peoples and societies of Britain, the United States, and other countries such as Australia, Canada and New Zealand – areas which are sometimes referred to as the Anglosphere. The term "Anglo-Saxon" can be used in a variety of contexts, often to identify the English-speaking world's distinctive language, culture, technology, wealth, markets, economy, and legal systems. Variations include the German "Angelsachsen", French "Anglo-Saxon", Spanish "anglosajón", Portuguese "anglo-saxão", Italian "anglosassone", Catalan "anglosaxó", Japanese "Angurosakuson" and Ukrainian "aнглосакси" (anhlosaksy). As with the English language use of the term, what constitutes the "Anglo-Saxon" varies from speaker to speaker.^{[citation needed]}

See also[link]

• Angles
• Anglo-Frisian
• Anglo-Saxon architecture
• Anglo-Saxon dress
• Anglo-Saxon military organization
• Anglophile
• Britons
• Frisia
• Ingvaeones
• Jutes
• Saxons
• States in Medieval Britain
• Timeline of Anglo-Saxon settlement in Britain
• Staffordshire Hoard

Modern concepts:

• English people
• Anglo-Saxon economy

Notes[link]

References[link]

• Oppenheimer, Stephen. The Origins of the British(2006). Constable and Robinson, London. ISBN 1-84529-158-1

Further reading[link]

• Clark, David, and Nicholas Perkins, eds. Anglo-Saxon Culture and the Modern Imagination (2010)
• F.M. Stenton, Anglo-Saxon England, 3rd edition, (Oxford: University Press, 1971)
• J. Campbell et al., The Anglo-Saxons, (London: Penguin, 1991)
• E. James, Britain in the First Millennium, (London: Arnold, 2001)
• M. Lapidge et al., The Blackwell Encyclopaedia of Anglo-Saxon England, (Oxford: Blackwell, 1999)
• Donald Henson, The Origins of the Anglo-Saxons, (Anglo-Saxon Books, 2006)

Primary sources[link]

• D. Whitelock, ed. English Historical Documents c.500–1042, (London: Eyre and Spottiswoode, 1955)
• Bede, Ecclesiastical History of the English People, trans. L. Sherly-Price, (London: Penguin, 1990)

External links[link]

• Photos of over 600 items found in the Anglo-Saxon Hoard in Staffordshire Sept. 2009
• Anglo-Saxon gold hoard September 2009: largest ever hoard officially declared treasure
• Huge Anglo-Saxon gold hoard found, BBC News, with photos.
• Fides Angliarum Regum: the faith of the English kings
• Anglo-Saxon Origins: The Reality of the Myth by Malcolm Todd
• An Anglo-Saxon Dictionary
• Simon Keynes' bibliography of Anglo-Saxon topics

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]

Hitchcock died in his Bel Air home of renal failure at 9:17 am on 29 April 1980. He was survived by his wife and their daughter. Hitchcock's funeral service was held at Good Shepherd Catholic Church^[94] in Beverly Hills, after which his body was cremated and his remains were scattered over the Pacific Ocean.^[95]

Themes, plot devices and motifs[link]

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.

Signature appearances in his films[link]

Hitchcock appeared briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), or walking dogs out of a pet shop (The Birds).

Psychology of characters[link]

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.^{[citation needed]}

Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.^[96]

Style of working[link]

Writing[link]

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:

Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.^[97]

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."^[98]

Storyboards and production[link]

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[link]

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'.^[99] 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.^[100]

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 François 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.^[101]

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.^[101]

In the late 1950s, French New Wave critics, especially Éric Rohmer, Claude Chabrol and François Truffaut, were among the first to see and promote Hitchcock's films as artistic works. Hitchcock was one of the first directors to whom they applied their auteur theory, which stresses the artistic authority of the director in the film-making process.

Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence helped start a trend for film directors to control artistic aspects of their movies without answering to the movie's producer.

The ugly side of Hitchcock - Sexual harrassment and abuse of leading ladies[link]

“The trouble today is that we don’t torture women enough.” —Alfred Hitchcock

Hitchcock engaged in obsessive sexually abusive behaviour towards many of his female leads. He used his position as director to seek to dominate and control his leading ladies. In the case of Tippi Hedren this extended to sexual harrassment. Hitchcock often used filming conditions to physically abuse actresses.

He insisted, for example, that Madeleine Carroll submit herself to painful physical demands during the making of The 39 Steps.

Awards and honours[link]

Hitchcock was a multiple nominee and winner of a number of prestigious awards, receiving two Golden Globes, eight Laurel Awards and five lifetime achievement awards, as well as being six times nominated for, albeit never winning, an Academy Award as Best Director. His film Rebecca (nominated for 11 Oscars) won the Academy Award for Best Picture of 1940—particularly notable considering the fact that another Hitchcock film, Foreign Correspondent, was also nominated that same year.

Television, radio, and books[link]

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.^[102] 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.

The series used a curious little tune^[103] by the French composer Charles Gounod (1818–1893),^[104] the composer of the 1859 opera Faust, as the theme 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, on one of their extended play 45-rpm discs for RCA Victor during the 1950s.

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

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[link]

Frequently cast actors and actresses[link]

• 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)
• 4 films: Phyllis Konstam: Champagne (1928), Blackmail (1929), Murder! (1930), and The Skin Game (1931)
• 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)
• 3 films: Charles Halton: Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Saboteur (1942)
• 2 films: Gregory Peck: Spellbound (1945), The Paradine Case (1947)
• 2 films: Robert Cummings: Saboteur (1942), Dial M for Murder (1954)
• 2 films: Tippi Hedren: The Birds (1963), Marnie (1964)
• 2 films: Joan Fontaine: Rebecca (1940), Suspicion (1941)
• 2 films: Joseph Cotten: Shadow of a Doubt (1943), Under Capricorn (1949)

Frequent collaborators[link]