Schedule of Topics

Jan 18 – Introductions, expectations, schedule, blogs, assignments. Overview of alfred-hitchcocktopics & expectations, final project overview, film evaluation outline, and Hitchcock “The Master of Suspense.” Assignment: Respond to online response post of Hitchcock readings & videos, write film evaluation on a select Hitchcock film. Semester Project Update: Post up to three ideas for your final project.

Jan. 22 – Hitchcock Response post is due by 11:59 pm.

Jan. 24 (Wednesday) – Hitchcock film Evaluation should be posted to your blog (and email link to professor, and post link to evaluation assignment page) by 11:59 pm.

Jan. 25 – Class Topics: Why do awards matter? The impact of the script. Finalize your filmmaker project/topic before the end of class. Assignment: Respond to online response post of Woody Allen readings & videos, write evaluation on a select Woody Allen film (or a final project film). Semester Project Update:Finalize filmmaker for semester project.

Jan. 29 – Woody Allen Response post is due by 11:59 pm.

Jan. 31 – (Wednesday) – Woody Allen film Evaluation should be posted to your blog (and email link to professor, and post link to evaluation assignment page) by 11:59 pm.


Feb. 1Topics: Francis Ford Coppola and/or Martin Scorsese. Assignment: Respond to online response post of Francis Ford Coppola and/or Martin Scorsese readings & videos, write evaluation on a select film (or a final project film). Semester project update: Identify (3) three films for review from your filmmaker.

Feb. 8 – Topics:  Clint Eastwood. Assignments: Respond to online Clint-Eastwood-Perfect-Worldresponse post of featured readings & videos, write evaluation on a select film (or a final project film). Semester Project Notes due today: Identify and turn in 5-7 (five to seven) strong sources for your biographical sketch. Print, online articles, audio, video sources, interviews with filmmakers, writers, actors, etc. are acceptable. The links or the initial sources should be shared with me via email.

Feb. 15 – Topics: John Hughes & Cameron Crowe. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).  Semester Project Notes – due today: Have working draft of the introduction for your final paper. This should be turned in for grade and feedback. *This will count as a weekly writing assignment grade.

Feb. 22 – Topics: Daniel Day Lewis Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film). Semester Project Notes: View one of your selected films by this date (and make detailed notes). Begin work on biographical sketch draft.MV5BMzU4YzI3ODItYzY3NS00ZTQ2LTg2YzUtNTdjMTVlYjVkYTE4XkEyXkFqcGdeQXVyNjUwNzk3NDc@._V1_UX182_CR0,0,182,268_AL_

March 1 – Topics: Tim Burton & Steven King. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film). Semester Project Notes: Have draft of biographical sketch complete and turn it in for grade and feedback. *This will count as a weekly writing assignment grade.

March 8  – (Thursday before Spring Break)Topics: Emma Stone & Sandra Bullock. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).

March 8-15 – Semester Project Notes: Should watch final two films of your featured filmmaker (and make detailed notes). Have next draft of introduction, biographical sketch, and 1/3 of your film overview analysis complete.

March 15  – No Face to Face Class – Spring Breakl_ecdf8f7aa81d5163129fee54d83a5e63

March 22 – Topics: Tom Hanks & Ron Howard. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).  Semester Project Notes: Have draft of introduction, biographical sketch, and 2/3 of your film overview analysis complete.

March 29 – No Face to Face Class – Easter Break. Semester Project Notes: Have draft of completed project ready (including intro, bio sketch, 3 films, wrap).

April 4 –Semester Project Notes: Semester project is due by 11:59 pm.

April 5 – Topics: Ridley Scott &  John Williams. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film.

April 12 – Topics: Peter Jackson. Assignments: Respond to online response post of peter-jacksonfeatured readings & videos, write evaluation on a select film. This is your final written evaluation.

April 19 – Semester Projects Presentations (or screenings)

April 26 – Semester Projects Presentations (or screenings)

May 3 – Semester Projects Presentations (and screening).


***Schedule is subject to change


Response post due (Monday, 1.29.18 by 11:59 pm)

Please take in the following article and videos (on Woody Allen, story & character). Also read the article on “The Race that is Oscar” and then address the questions:


Address the following questions and respond in the reply/respond section at the bottom (pleas try to offer something different from other students):post-9-6-inside-out-20110527cakestorymeeting04-1024x683

  1. What do you find most interesting or intriguing about Woody Allen? Explain why.
  2. After watching the videos on story, character and dialogue –   offer two to three points you feel are most worthy in understanding the “power of story” or the “importance of character.” Defend your answers.
  3. What did you find most interesting about the impact of Awards from “The Race that is Oscar” article? Why?Or, what new knowledge did you gain about the impact of awards?



Woody Allen Film Evaluation Assignment

Award Winning Filmmakers – Assignment due by 1.31.18 (by 11:59 pm)photocall-midnight-in-paris_001-7

  • Look for the following Woody Allen themes and trademarks:
  1. Woody Allen serving as writer, director, producer, and/or actor.
  2. Themes of relationship conflicts, internal conflicts, human failures, neurotic tendencies, self-deprecating humor.
  3. Backdrop of New York or foreign destinations (like Rome, Paris, London). Many times his films serve as a “love story” to the city.
  4. Period films.
  5. Quirky characters and situations.
  6. Strong female lead.
  7. Quick paced, witty, and organic-feeling dialogue.maxresdefault
  8. Fake Documentaries.
  9. Works with the same talent on numerous films (you should do research here).


Woody Allen Films for consideration 

Take the Money and Run (1969)

Bananas (1971)16984439_1300x1733

Sleeper (1973)

Love and Death (1975)

Annie Hall (1977)

Manhattan (1979)

Zelig (1983)

Broadway Danny Rose (1984)

The Purple Rose of Cairo (1985)

Hannah and her Sisters (1986)radio-days1

Radio Days (1987)

Crimes and Misdemeanors (1989)

Husbands and Wives (1992)

Mighty Aphrodite (1995)

Sweet and Lowdown (1999)

Match Point (2005)Vicky Cristina Barcelona

Vicky Cristina Barcelona (2008)

Midnight in Paris (2011)

Blue Jasmine (2013)

Magic in the Moonlight (2014)

Irrational Man (2015)

Cafe Society (2016)

Wonder Wheel (2017)


Woody Allen: An Unlikely Romantic

mtm0ode3mjg4mju0njkwntc4Woody Allen (1935) is a multitalented filmmaker known for creating strong female leads, developing rich screenplays, infusing a script with finely tuned characters, and reinventing the romantic comedy. His quirky writing and sense of comic timing is a direct result of his experiences growing up with a demanding mother and nomadic father, who were second-generation Jewish immigrants.

img-woody-allen-02_144514163212Born in Brooklyn, NY just prior to World War II offered a unique outlook on life for Allen growing up with the knowledge, and pain of Hitler’s Jewish Holocaust. He understood the plight of his kinsmen overseas, yet refused to allow the darkness of that time to break his spirit. He knew that had his family lived in Germany during this period, that he probably wouldn’t have survived to experience the beautiful chaos that is life. His father would bounce from job to job, never quite finding a place to settle, and he was everything from a salesman, to a taxi driver, to a bartender, to a jewelry engraver, to a pool hustler and bookmaker. His mother never had the patience for Woody and his comedic antics, and on many occasions family shouting matches and a few flying fists made this small overcrowded middle class apartment look like the location of a ultimate fight championship. It was much of this life experience and cultural legacy that Woody used as inspiration for a path in stand up comedy, writing, 1101720703_400television, and film. It was also that sense of claustrophobic mayhem that would lead Woody to search for a calm solitude later in his life.

While in high school, Woody was not really interested in academics or a social life, instead he chose to spend his time creating magic tricks, and writing comedy. It was at the age of 17 when he began having his jokes published by a local newspaper, and that got him noticed. He was then hired to write material for other stand up comic talents.

Always a lover of film, Allen decided to study filmmaking at New York University, but due to some unexpected challenges, he decided to fall back on a career in comic writing. That decision paid off for Allen, and before he’d reached his 20th birthday, he already had over twenty woody-allen-on-the-set-of-001thousand of his jokes purchased. Within three years he was writing comedy for one of television’s biggest comedy stars of the time, Sid Caesar. This work with Caesar earned Allen an Emmy Award nomination. Allen also wrote material for the legendary Bob Hope during this period.

woodyWhile Allen understood comedy and how it could connect with audiences, he wanted to understand it at a deeper level. So, in 1960, he left Caesar and began performing stand up comedy six nights a week at a small New York club. Allen wanted to explore every avenue of why audiences laughed, and literally living in a comedy club was his answer to addressing those pondering questions. His stand up routine began getting national exposure, and television networks invited him to appear on numerous talk shows and variety shows. His comedic success led to a Grammy nomination for best comedy album in 1964, and his comic approach was different from many other comedians of the time. Allen’s style was self-deprecating, and an inward focus on his flaws, failed relationships, and the fact that he wasn’t the world’s most handsome man. Compared to other stand up comics who spent most of their time focusing on politics, Allen appealed to the “everyman”, and to everyone’s insecurities. His humor made the audiences feel worthy, and understood.

During this time, Allen became a household name, and he got the whats-new-pussycat-1965opportunity to write and star in his first film What’s New, Pussycat? in 1965. He was incredibly unsatisfied with the experience, and actually stated that he would never work on another film unless he had complete artistic control. The film had tremendous success, and Allen got his wish, and for the next 50 years, if a film bore his name, it also had his stamp of approval. Allen is so intent on what project is next on his plate, that once a film leaves the editing room, Allen leaves it behind as well, stating he’s never watched any of his films once he’s signed off on the final cut. Allen has also claimed that he’s never been completely satisfied with any of his projects.

manhattanAllen would go onto to write, direct, produce, and star in several of his early films as an unlikely leading man. Many of those projects would focus on romantic relationships, human failures, and the search for the meaning of life. Stylistically, he would bounce between parody, slapstick, and drama. Interestingly enough, he would also find success in each genre (although not for every film). Through the late 1960s and early 1970s, he was known for his adult-driven parodies, and mockumentaries.

In 1977, Allen’s breakthrough film, Annie Hall, earned four Academy aniehallAwards (picture, director, screenplay, actress) and also earned the filmmaker a reputation for his off screen relationships with his onscreen stars. Diane Keaton was his romantic connection in the brilliant Annie Hall. Allen would redefine the romantic comedy in a way that showed audiences, that even in Hollywood pictures, relationships sometimes fail in the end. His approach to romance was one of fun, but realism as well. Another important relationship formed as a result of Annie Hall, this one with award-winning cinematographer, Gordon Willis. Willis worked with Allen on nine films and was also known for his work on other legendary projects (The Godfather Trilogy, All The President’s Men, Klute, Malice).

manhattan_quote_art_320_bBecause of Allen’s love of New York, many of his films were shot and set there, including his homage to New York City in 1979’s Manhattan. Throughout the 70s and 80s, Allen’s work could be mistaken for extensive therapy sessions exploring faults, hopes, obsessions, fears, failures and neurosis-driven subject matter. But almost always, audiences would leave theatres feeling a little bit better about themselves, their lives, and their relationships.

In 1986 Allen received another Academy Award for writing Hannah and Her Sisters, starring longtime love, Mia Farrow. He and Farrow had a hannah_y_sus_hermanas-178983721-largerocky relationship over the years, which included a vicious custody battle, and a scandalous love triangle with an adopted daughter.

Allen would also explore experimental filmmaking borrowing independent and long lost European and Italian styles of shooting, editing, and character studies. He is also one of the world’s most prolific feature filmmakers, releasing a new project nearly every year. Over the decades, award winning talent, and some of the biggest names in Hollywood have all yearned for an opportunity to work with Allen. While his scripts are usually well developed, and offer unique and interesting characters and dialogue, he is known for giving his talent an opportunity to improvise lines and explore the characters at a deeper level. This approach to directing is a rarity in Hollywood, but it has continued to work for Allen and his talent throughout the decades.

whats-up-tiger-lilyHe’s written and directed musicals, period films, genre studies, and pure works of art. Although not every film has appealed to audiences, or critics for that matter, Allen has continued to explore topics, characters, and settings that inspire and intrigue him. He’s written and directed films focusing on his love of music, filmmaking, Broadway, Shakespeare, Greek tragedies, and more.

Since 2005, Allen has chosen to explore his adoration of travel, and foreign destinations making films in London, Spain, Paris, and Rome. In films like Vicky Cristina Barcelona (2008), Midnight in Paris (2011), To Rome with Love (2012), and Magic in the Moonlight (2014), Allen showed audiences that love stories could be as much about locations and settings, as it could about people.midnight

Throughout the years Allen has also composed and performed music for his films, written and directed Broadway plays, and contributed regular humor pieces for the New Yorker Magazine.

In 2016, Allen took returned to television with the Amazon Original series Crisis in Six Scenes. Allen directed and starred in this 1960s-based comedy co-starring Miley Cyrus. Allen told the Hollywood Reporter that working on a television was far more difficult than he’d anticipated.

“I thought, ‘Oh, I do a movie all the time, and I’ve gotten so that I can do them,’ and I thought ‘Television, just six half hours, I can knock that off as if it’s nothing.’ But it wasn’t nothing. I struggled … and it was much harder work than a movie and even more because you have to it in, to say the least,” noted Allen (Lewis 2016).

92362029_croppedWith four Academy Award wins (over 30 nominations), two Golden Globe wins (13 nominations), and ten BAFTA Award wins (23 nominations) for his career work, Allen has continued to find ways to bring his stories and characters to life for over a half century of filmmaking. His 16 Oscar nominations for screenwriting places him at number one on the all time list, and his seven nominations for directing lands him in the top three in the directing category. His last Oscar win was for Midnight in Paris (2011), and he was nominated again in 2013 for Blue Jasmine, starring Cate Blanchett in her Oscar winning performance. He’s also been honored by the Broadcast Films Critics Association, the Director’s Guild, the Screenwriter’s Guild, and has been honored with Lifetime Achievement Awards for filmmaking, among others.thr_issue_14_woody_allen_cover_embed

Although his career, and his relationships have been very public (and controversial), Allen considers himself a loner, an outsider, and a very private individual. As a film critic, and a fan of Allen’s body of work (nearly 70 films to his credit), one wonders how many more chances we’ll get to see new work from this 82-year old legend. If genetics plays a role, Allen may go on creating projects for many more years. His dad lived to be 100 years old, and his mother was 95 when she passed away.

By Noel T. Manning II


Lewis, H. (2016, September 30). Woody Allen: Amazon series “Much harder work than a movie,”| Hollywood Reporter. Retrieved from

Manning II, N. T. (2017, March 12). Woody Allen: 50 Years of Genius [word doc].

Monaco, J., Pallot, J., & Baseline (Firm). (1991). The encyclopedia of film. New York, NY: Perigee Books.

Schneider, S. J. (2007). 501 movie directors. Hauppauage, NY: Barrons Educational Series.

Woody Allen – Biography on Bio. (2017). Retrieved from

Woody Allen Biography – World Encyclopedia. (2002). Retrieved from

Woody Allen. (2015). The website. Retrieved 07:50, Feb 11, 2015, from


Film Fests & The Race that is Oscar

Film Fests – to be aware of:sundance_hh

  1. Cannes in France
  2. Sundance in Utah
  3. Toronto International Film Fest
  4. Real to Reel –Kings Mountain, NC (Great local film fest featuring films and filmmakers from around the world –every July)


  • Why do film fests matter?11752607_884735508285714_4029954685097151215_n
  1. Exposure
  2. Recognition (even official selections matter)
  3. Networking (with other filmmakers and film fans)
  4. Distribution opportunities
  5. Possible investors
  6. The can actually break a film (or filmmaker) into the mainstream box -office


The Race that is Oscar g-tdy-120124-oscar-nominees-grid-6x2

Using the term “race” to describe the Academy Awards is quite appropriate. It truly is a sprint toward the finish line in a marathon series of events leading up to the final leg, the final prize of the award’s season for filmmakers. In late October promoters began trotting their films around to voters much like thoroughbred horses being paced throughout an arena. Elements of cinematography, musical score, and set design are but a few of the attributes displayed to film voters in hopes of recognition and accolades for excellence and achievement in this chaotic world of award’s season. From critics’ picks, to actor’s choice, to director’s, and producer’s kudos – the myriad of awards groups and shows recognizing the best in filmmaking will culminate (as is always the case) with Oscar. And in truth, while all other awards are important, it is, and it will always be, the Oscar that is the most coveted prize for all filmmakers.predicting-the-oscar-nominations

Much like the Superbowl, the Pulitzer, and the Nobel – all other prizes, awards or wins actually pale in comparison. And that is one of the reasons why studios spend so much money in an attempt to have their films and filmmakers noticed. A Best Picture nomination in itself is worth $20 million more to the film’s final box office take while an Oscar win can bring in an additional $14 million after the awards are presented, according to market research organization IBISWorld. So money is definitely the most important factor in the Oscar game.

Why Award-season matters (October –February)here-are-all-the-2017-oscar-nominees

  • Exposure -to new audiences and studios for films and filmmakers
  • Prestige- (nominations are even important) for the:

A. Stars

B. Studios

C. Historical standing for a recognized film or filmmaker

D. Job Security (for at least 5 years) –more options for stars, directors, producers, etc.

  • More $$$ earnings (at the box office, home theatre sales, rentals, and for the filmmakers and studios)
  • Pride (in being able to say award-winning actor, actress, filmmaker)


Timing is everything.

  • Most studios choose to release their award contenders between October and December best-cinematography-oscar-nominees— the time closest to awards voting — so any buzz will be fresh in the minds of voters. First impressions are important, and making a splash first in the film festivals is also a universal strategy. This creates buzz and excitement.
  • Early awards presented are usually by critics groups (you can actually compare these to political primaries). These go a long way to paving the way to who will finally be considered for Oscars. Oscar voters pay attention to critics –because they are evaluating film the same way (in most cases) from the artistic approach.
  • Studios need to release the films early enough for voting audiences. They also need time for word-of-mouth to get around . . . so that the movie will find its audience.
  • There are exceptions to the fall release schedule for awards-consideration. Examples
    No Merchandising. Editorial Use Only Mandatory Credit: Photo by Everett Collection / Rex Features ( 411879fv ) ‘THE SILENCE OF THE LAMBS’ – Anthony Hopkins – 1991 VARIOUS

    include: Silence of the Lambs (Feb. release), Forest Gump (summer release), Hurt Locker (June release). Word of mouth for those films spread and stayed hot throughout the theatrical run and throughout award-season.


Winning the Awards cost $$$$

In some ways you have to buy yourself into award-consideration. Award campaigning began in the ‘60s.

  • Awards campaigns are not cheapcampaign budgets can run $24 million per film. Mailing DVD screeners to the Academy’s 6,000-plus members plus all the other a3215225-7f2b-4afd-803c-0a3b3276f9a2awards groups, advertising in trade publications, attending festivals, hosting private screening events and conducting media tours are only the beginning.
  • Without the studio’s support during awards-season, films will most likely go nowhere during the awards process (private screenings, setting up junket interviews, red carpet invites).
  • But spending all those $$$ doesn’t guarantee awards … it only secures a chance to be considered.

Examples: I receive over 100 screeners in November & December – and I don’t get to watch every single one of them. It becomes like triage at a hospital for me. I look at what buzz is happening in the film community, I look at films that may have directors, writers or stars that I’m drawn to … and those move to my must-see-first list.hurt_locker_ver8_xlg

Do the best artistic films and performances always win?

No, in some instances it can become a popularity contest or a lifetime achievement contest. Is it always objective? No, sometimes voters may cast a ballot for someone they like, or cast a ballot against someone they dislike. If any of the nominees have done anything to tick-off voters –they can become alienated and may never earn an accolade from a voting member. Sometimes voters may be drawn to a friend who is nominated or someone you like as a person (even if they don’t have the best performance). I mentioned lifetime achievement because sometimes voters may honor a long-time star for a great (but maybe not the best) performance because they’ve never won before. Examples: Max Von Sydow @ 82 yrs. old for “Extremely Loud & Incredibly Close”, Christopher Plummer @ 82 yrs. old for “Beginners”, and Hal Holbrook @ 82 yrs. old for “Into the Wild”–neither had ever won an Oscar, but had earned legendary status for the amazing bodies of work. Sometimes voters will vote for these filmmakers as a “crowd fave.” Legendary actor Paul Newman acted for over 30 years before earning an Oscar, and it was opposite Tom Cruise in “The Color of Money.”

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Studios Must Understand the Target Media to Engage Voters

  • Today’s media landscape has changed how studios reach voting audiences. In the 1980s, television was the key public influencer, whereas now the media is more spread out, requiring a broader reach.
  • Hollywood has discovered that the Internet and social media are the most import oscars-art-2016resources for the studios to create an audience buzz on their films. It also allows the general public and the critics to connect and dialogue in a way that is starting to really impact the industry. When you have that dialogue and discussion between those two – box office blockbusters can become part of the equation within awards-circles.

Although those conversations may spark interest in voters, at this point, it is still up to the studios to make the final push. Studios still haven’t quite figured out the perfect way to use social media as a magic bullet in award-season marketing to voters.

  • Instead traditional marketing avenues like print, television and even billboard advertising play a much larger role in award campaigning (especially in Los Angeles and New York). It is very common to see this in trade publications targeted to voters.

So why do awards and film fest matter … the bottom line … $$$$$











Student Contract of Understanding

A proper understanding of the course outline and overview, expectations, assignments, and the resources available will provide you with a successful outcome in the class. Please read the information (and links) below, and acknowledge your understanding of this course. You should print your name in the comments section below to acknowledge understanding. Please contact me if you need further clarification.


  • I have read and understand the course description and objectives.
  • I understand the attendance policies and outside lab viewing expectations.
  • I understand the grading policies.
  • I understand that this is a hybrid course, and that outside (online lab) engagement is expected; and it essential for success in this course (through films, our website, and links).
  • I am aware that I will have a semester project, weekly written evaluations (due on Wednesdays), and online response posts (due on Mondays).
  • I understand that I will post my weekly film evaluations to a personal film blog, and that I will need to maintain it within course specifications.
  • I understand that our schedule of topics is a fluid outline, and will be available on our site as a guideline for the class each week (for topical dialogue, assignment due dates, and a road map for the semester project).
  • I understand that I am responsible for weekly readings, post engagement, watching films & videos, and mini-documentaries on my own time.
  • I understand that time management, and personal motivation is a key to success in course.
  • I understand that the work I offer will be my own, and that I will cite additional resources when needed.
  • I understand that Noel T. Manning II has provided me with a benchmark guideline to assist in successful completion of a directed semester project.
  • I understand that the University has numerous resources (Noel Center, Learning Enrichment & Assistance Program – LEAP, and the Writing Center) to assist me in my journey towards success should I have the need.
  • I understand that Noel T. Manning II is here to facilitate my success, and that I may contact him throughout the semester if I need class support, guidance, understanding, or have questions about assignments, grades or expectations.
  • By posting my name below, I understand this document; and I understand that I have a choice to what extent I will find success in this course.

Alfred Hitchcock: Response Post (due: Monday, 1.22.18 by 11:59 pm)

Watch the following videos and read the article on our site “Alfred Hitchcock -Innovator of Intrigue”. Then address (4) four of the following questions (with an original response post):

  1. What did you find most interesting or intriguing about the life of Alfred Hitchcock? Why/or how will that help you in evaluating his films?
  2. What did you learn that will help you understand filmmaking as a whole in a more powerful way? Why?
  3. What did you find most interesting about Hitchcock’s approach to filmmaking? Why?
  4. After viewing the video montage below – what did you find interesting about the Hitchcock filmmaking style (from a cinematography approach)?
  5. After watching the interview below? What knowledge did you gain that you feel is worthwhile for film evaluation? or Hitchcock evaluation?


Mini Biography of Alfred Hitchcock from


Published on Oct 1, 2014
20-Minute 1966 interview with Alfred Hitchcock on filmmaking, simplification of identification, visual clarity, actors and improvisation, the Hitchcock-woman, humour of the macabre, being a traditionalist, making television, suspense and more… “I Deal In Nightmares” – Alfred Hitchcock
The Following is a video montage highlighting some of the visual master shots created from Alfred Hitchcock representing several of his films:

Hitchcock Evaluation (due 1.24.18)

Award Winning Filmmakers 1.24.18 (due before 11:59 pm)4186414157_6cd6e53d98

Alfred Hitchcock Films

  • “Blackmail” (1929)
  • “The Man Who Knew Too Much” (1934)
  • “39 Steps” (1935)
  • “Sabotage” (1936)
  • “The Lady Vanishes” (1938)
  • “Rebecca” (1940)
  • “Lifeboat” (1944)
  • “Notorious”(1946)Alfred Hitchcock
  • “The Rope” (1948)
  • “Rear Window” (1954)
  • “Dial M for Murder” (1954)
  • “To Catch a Thief” (1955)
  • “Vertigo” (1958)
  • “North by Northwest” (1959)
  • “Psycho” (1960)
  • “The Birds” (1963)
  • “Torn Curtain” (1965)
  • “Frenzy” (1972)
  • “Family Plot” (1976)6968909_orig

Or you may choose to view the following films about the life of the Hitchcock. 

  • Hitchcock (2012)
  • The Girl (2012)

You may also choose to view the Psycho remake from 1998 for extra credit or viewing enjoyment.