Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
Tomorrow (and every March 12) is National Alfred Hitchcock Day.
Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
Tomorrow (and every March 12) is National Alfred Hitchcock Day.
These notes accompany screenings of Alfred Hitchcock’s </em>The Birds</a> on January 29, 30, and 31 in Theater 3.</p>
In his seminal study of Alfred Hitchcock, critic Robin Wood focuses on the director’s career-long apprehension that civilization rests precariously on a very thin layer of what we accept as reality, but which covers a foreboding, underlying chaos.
These notes accompany the screenings of Alfred Hitchcock’s To Catch a Thief on August 1, 2, and 3 in Theater 3.
By 1955, Alfred Hitchcock was enjoying a level of celebrity never attained before or since by a movie director, with the possible exception of Cecil B. De Mille when he was hosting Lux Radio Theatre.
These notes accompany screenings of Alfred Hitchcock’s Blackmail, June 23, 24, and 25 in Theater 2.
Alfred Hitchcock (1899–1980) is the leading example of a commercially successful film director who never lost his taste for innovation and experimentation. He must be something of an anathema to those on the avant-garde fringes of film whose whole career may not attract the audiences that Psycho (1960) or The Birds (1963) could garner in a single day. Yet, his body of work remains extremely personal and unified in its vision of a precarious universe.
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