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BFI Classics: Blackmail - Softcover
- Alfred Hitchcock's Blackmail (1929) was the first major British sound film
- Tom Ryall examines its unusual production history and places it in the context of Hitchcock's other British films of the period.
- It is, Ryall argues, both a considerable work of art in itself, and also one of the first to display those touches we now think of as typically Hitchcockian: a blonde heroine in jeopardy, a surprise killing, some brilliantly manipulated suspense, and a last-reel chase around a familiar public landmark (in this case, the British Museum). There's also a cameo appearance by the director himself, as a harassed traveller on the London Underground
Pages: 96
Published: November 1993
Size (cm): 13.5 x 19 x 0.5
Every purchase supports ACMI
- Alfred Hitchcock's Blackmail (1929) was the first major British sound film
- Tom Ryall examines its unusual production history and places it in the context of Hitchcock's other British films of the period.
- It is, Ryall argues, both a considerable work of art in itself, and also one of the first to display those touches we now think of as typically Hitchcockian: a blonde heroine in jeopardy, a surprise killing, some brilliantly manipulated suspense, and a last-reel chase around a familiar public landmark (in this case, the British Museum). There's also a cameo appearance by the director himself, as a harassed traveller on the London Underground
Pages: 96
Published: November 1993
Size (cm): 13.5 x 19 x 0.5
Every purchase supports ACMI
$7.32
Original: $20.91
-65%BFI Classics: Blackmail - Softcover—
$20.91
$7.32Description
- Alfred Hitchcock's Blackmail (1929) was the first major British sound film
- Tom Ryall examines its unusual production history and places it in the context of Hitchcock's other British films of the period.
- It is, Ryall argues, both a considerable work of art in itself, and also one of the first to display those touches we now think of as typically Hitchcockian: a blonde heroine in jeopardy, a surprise killing, some brilliantly manipulated suspense, and a last-reel chase around a familiar public landmark (in this case, the British Museum). There's also a cameo appearance by the director himself, as a harassed traveller on the London Underground
Pages: 96
Published: November 1993
Size (cm): 13.5 x 19 x 0.5
Every purchase supports ACMI
