Jean-Loup Bourget, Rebecca d’Alfred Hitchcock by Nicole Cloarec

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Freedman, Jonathan, editor. The Cambridge Companion to Alfred Hitchcock by Melenia Arouh

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Meurtres et meurtriers dans l’œuvre d’Alfred Hitchcock by Sylvain Palfroy

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Looking for “I”: Casting the Unnamed Heroine in Alfred Hitchcock and David O. Selznick’s Adaptation of Rebecca by Milan Hain

“…Drawing on archival documents from the Selznick Collection at the Harry Ransom Center in Austin, Texas, and on the surviving screen tests of several candidates for the main role, the author compares Fontaine’s screen tests with those of her most immediate “rivals” – Vivien Leigh, Anne Baxter, Margaret Sullavan and Loretta Young – and relates them to the vibrant exchange of opinions between Selznick and director Alfred Hitchcock for whom the film marked his Hollywood debut. …”
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Jane Air: The Heroine as Caged Bird in Charlotte Brontë’s Jane Eyre and Alfred Hitchcock’s Rebecca by Paul Marchbanks

“…Stoneman est Rebecca d’Alfred Hitchcock (1940) d’après le roman à succès éponyme de Daphné Du Maurier paru en 1938. …”
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Konstruując Alfredów Hitchcocków by Marcin Adamczak

Subjects: “…Alfred Hitchcock…”
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Przestrzeń zamknięta w tym, co widzialne by Agata Ciastoń

Subjects: “…Alfred Hitchcock…”
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The Dweller on the Threshold: Whiteness, the Family and the End of Classical Cinema by Conall Cash

Subjects: “…Alfred Hitchcock…”
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De la porte de Brandebourg à La Havane : Wilder, Hitchcock et l’héritage révolutionnaire by Julie Michot

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Limites e intersecções do estético com o político no filme Janela indiscreta, de Alfred Hitchcock, e no conto "Sessão das quatro", de Roberto Drummond by Wanderlan da Silva Alves

Subjects: “…alfred hitchcock…”
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Asedios, fantasmas e impunidad. Una comparación desde lo espectral entre Vértigo de Alfred Hitchcock y La mujer sin cabeza de Lucrecia Martel by Emilio Vilches Pino

“… Este artículo realiza un análisis comparativo de las películas Vértigo (1958) de Alfred Hitchcock y La mujer sin cabeza (2008) de Lucrecia Martel, desde la perspectiva de los estudios espectrales. …”
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Ravel’s Programmatic Impulse by Peter Kaminsky

Subjects: “…Hector Berlioz; Faustus; Alfred Hitchcock; Leitmotiv, leitmotif; Lydisch, Lydian; Programmmusik; programme music; Maurice Ravel;…”
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What Hitchcock Taught Us about Whodunnits by Dominique Sipière

“…Although he specialised in crime thrillers, Alfred Hitchcock avoided filming whodunnits: his dislike gives a clue to both readers and spectators about the nature of what could be termed a “Hitchcock-genre” and about the thrill some still get from seemingly old fashioned novels of the 1930s. …”
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Lacan’s three orders, the graphe complet and music in film: by Zelda Potgieter

“…Analysis of Miklos Rosza’s score for Alfred Hitchcock’s Spellbound (1945) serves to illustrate such insights. …”
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Existential and Phenomenological Horror in Les Diaboliques by Daniel Tilsley

“…The article will link this portrayal of horror to Les Diaboliques’ well-established influence on the development of the dominant 1960s and 1970s paranoid-psychological horror film and key figures like Alfred Hitchcock and William Castle, suggesting the ontological source of horror in these films as existential phenomenological in nature as opposed to exclusively being the result of psychosexual and familial repression, as is commonly posited by critics.…”
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Slowness and Renewed Perception: Revisiting Douglas Gordon’s 24 Hour Psycho (1993) with Don DeLillo’s Point Omega (2010) by Françoise Sammarcelli

“…In 1993 Douglas Gordon appropriated Alfred Hitchcock’s famous film Psycho and slowed it down to approximately two frames a second (instead of the usual twenty-four). …”
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Samotność na ekranie. Filmowe życie obrazów Edwarda Hoppera by Maria Pokora

“…Z drugiej zaś sztuka Hoppera wpłynęła na styl filmowania wielu reżyserów (do jego twórczości otwarcie odwołują się m. in.: Alfred Hitchcock, Jim Jarmusch, Wim Wenders, Francis Ford Coppola oraz Todd Haynes). …”
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Roteiro de viagem ao país de Lacan by Laéria Fontenele

“…É ele reconhecido como sendo um profundo conhecedor de Hegel e Karl Marx; apaixonado leitor de Sigmund Freud e de Jacques Lacan; crítico contundente das ideologias totalitárias, espírito cultivado por sua filia às múltiplas artes – sendo, inclusive, especialista na cinematografia de Alfred Hitchcock. Os traços de sua erudição e sensibilidade para com as artes, se refletem e particularizam, também, o seu estilo de escrever, o qual se encontra muito bem representado no modo como urdiu esse seu novo livro. …”
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