By Tom Ryall
First released in 1986, this common account of Hitchcock's British movies and film-making is now on hand back in a moment variation with a brand new advent and Bibliography. will probably be welcomed through all scholars of the movie and admirers of Hitchcock
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Hollywood, after all, had produced film makers such as Frank Capra and John Ford whose films often displayed social values in addition to those of 21 Alfred Hitchcock and the British Cinema entertainment but a familiar comment on the British cinema of the period is that it virtually ignored social preoccupations and concerns. The gravitation towards documentary is also signalled in the career of Paul Rotha whose interest in the cinema of the 1920s was catholic and embraced the various experiments in narrative fictional cinema.
4 (1928), p. 10. 54. M. Eisenstein, Film Form (Harcourt, Brace and World, New York, 1949), pp. 259-60. 55. , p. 258. 56. Ibid. 31 This page intentionally left blank Chapter Three The British Film Industry in the Interwar Years Although Hitchcock had some links with the 'artistic' wing of the British cinema during the 1920s, it was in the commercial film industry that he was to forge his career. In Chapter 1, the notions of 'film industry' and 'national cinema' were unpicked into their different strands and shown not to be neat and unified in terms of their empirical reference.
The 'knife' sequence seemed to demonstrate the possibilities of a departure from the 'photographs of people talking' that dialogue films seemed to 29 Alfred Hitchcock and the British Cinema invite, with its expressionist distortion of the soundtrack. It also counterpoints sound and image with the dialogue from off-screen space matched to a large close up of Alice. Counterpointing sound and image instead of synchronising them was favoured as the artistic path for the sound picture by the film intellectuals of the day.