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Angoras are bred mainly for their wool because it is silky and soft. They have a humorous appearance, as they oddly resemble a fur ball. Most are calm and docile but should be handled carefully. Grooming is necessary to prevent the fiber from matting and felting on the rabbit. A condition called "wool block" is common in Angora rabbits and should be treated quickly. Sometimes they are shorn in the summer as the long fur can cause the rabbits to overheat.
International relations.
Twin towns and sister cities.
Ankara is twinned with:
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Arabic
Arabic (, , or , ) is a Central Semitic language of the Afroasiatic language family spoken primarily in the Arab world. The ISO assigns language codes to 32 varieties of Arabic, including its standard form of Literary Arabic, known as Modern Standard Arabic, which is derived from Classical Arabic. This distinction exists primarily among Western linguists; Arabic speakers themselves generally do not distinguish between Modern Standard Arabic and Classical Arabic, but rather refer to both as ( "the eloquent Arabic") or simply "" ().
Arabic is the third most widespread official language after English and French, one of six official languages of the United Nations, and the liturgical language of Islam. Arabic is widely taught in schools and universities around the world and is used to varying degrees in workplaces, governments and the media. During the Middle Ages, Arabic was a major vehicle of culture and learning, especially in science, mathematics and philosophy. As a result, many European languages have borrowed words from it. Arabic influence, mainly in vocabulary, is seen in European languages (mainly Spanish and to a lesser extent Portuguese, Catalan, and Sicilian) owing to the proximity of Europe and the long-lasting Arabic cultural and linguistic presence, mainly in Southern Iberia, during the Al-Andalus era. Maltese is a Semitic language developed from a dialect of Arabic and written in the Latin alphabet. The Balkan languages, including Albanian, Greek, Serbo-Croatian, and Bulgarian, have also acquired many words of Arabic origin, mainly through direct contact with Ottoman Turkish.
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Arabic has influenced languages across the globe throughout its history, especially languages where Islam is the predominant religion and in countries that were conquered by Muslims. The most markedly influenced languages are Persian, Turkish, Hindustani (Hindi and Urdu), Kashmiri, Kurdish, Bosnian, Kazakh, Bengali, Malay (Indonesian and Malaysian), Maldivian, Pashto, Punjabi, Albanian, Armenian, Azerbaijani, Sicilian, Spanish, Greek, Bulgarian, Tagalog, Sindhi, Odia, Hebrew and African languages such as Hausa, Amharic, Tigrinya, Somali, Tamazight, and Swahili. Conversely, Arabic has borrowed some words (mostly nouns) from other languages, including its sister-language Aramaic, Persian, Greek, and Latin and to a lesser extent and more recently from Turkish, English, French, and Italian.
Arabic is spoken by as many as 380 million speakers, both native and non-native, in the Arab world, making it the fifth most spoken language in the world and the fourth most used language on the internet in terms of users. It also serves as the liturgical language of more than 2 billion Muslims. In 2011, "Bloomberg Businessweek" ranked Arabic the fourth most useful language for business, after English, Mandarin Chinese, and French. Arabic is written with the Arabic alphabet, an abjad script that is written from right to left.
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Classification.
Arabic is usually classified as a Central Semitic language. Linguists still differ as to the best classification of Semitic language sub-groups. The Semitic languages changed between Proto-Semitic and the emergence of Central Semitic languages, particularly in grammar. Innovations of the Central Semitic languages—all maintained in Arabic—include:
There are several features which Classical Arabic, the modern Arabic varieties, as well as the Safaitic and Hismaic inscriptions share which are unattested in any other Central Semitic language variety, including the Dadanitic and Taymanitic languages of the northern Hejaz. These features are evidence of common descent from a hypothetical ancestor, Proto-Arabic. The following features of Proto-Arabic can be reconstructed with confidence:
On the other hand, several Arabic varieties are closer to other Semitic languages and maintain features not found in Classical Arabic, indicating that these varieties cannot have developed from Classical Arabic. Thus, Arabic vernaculars do not descend from Classical Arabic: Classical Arabic is a sister language rather than their direct ancestor.
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History.
Old Arabic.
Arabia had a wide variety of Semitic languages in antiquity. The term "Arab" was initially used to describe those living in the Arabian Peninsula, as perceived by geographers from ancient Greece. In the southwest, various Central Semitic languages both belonging to and outside the Ancient South Arabian family (e.g. Southern Thamudic) were spoken. It is believed that the ancestors of the Modern South Arabian languages (non-Central Semitic languages) were spoken in southern Arabia at this time. To the north, in the oases of northern Hejaz, Dadanitic and Taymanitic held some prestige as inscriptional languages. In and parts of western Arabia, a language known to scholars as Thamudic C is attested.
In eastern Arabia, inscriptions in a script derived from ASA attest to a language known as Hasaitic. On the northwestern frontier of Arabia, various languages known to scholars as Thamudic B, Thamudic D, Safaitic, and Hismaic are attested. The last two share important isoglosses with later forms of Arabic, leading scholars to theorize that Safaitic and Hismaic are early forms of Arabic and that they should be considered Old Arabic.
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Linguists generally believe that "Old Arabic", a collection of related dialects that constitute the precursor of Arabic, first emerged during the Iron Age. Previously, the earliest attestation of Old Arabic was thought to be a single 1st century CE inscription in Sabaic script at , in southern present-day Saudi Arabia. However, this inscription does not participate in several of the key innovations of the Arabic language group, such as the conversion of Semitic mimation to nunation in the singular. It is best reassessed as a separate language on the Central Semitic dialect continuum.
It was also thought that Old Arabic coexisted alongside—and then gradually displaced—epigraphic Ancient North Arabian (ANA), which was theorized to have been the regional tongue for many centuries. ANA, despite its name, was considered a very distinct language, and mutually unintelligible, from "Arabic". Scholars named its variant dialects after the towns where the inscriptions were discovered (Dadanitic, Taymanitic, Hismaic, Safaitic). However, most arguments for a single ANA language or language family were based on the shape of the definite article, a prefixed h-. It has been argued that the h- is an archaism and not a shared innovation, and thus unsuitable for language classification, rendering the hypothesis of an ANA language family untenable. Safaitic and Hismaic, previously considered ANA, should be considered Old Arabic due to the fact that they participate in the innovations common to all forms of Arabic.
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The earliest attestation of continuous Arabic text in an ancestor of the modern Arabic script are three lines of poetry by a man named Garm(')allāhe found in En Avdat, Israel, and dated to around 125 CE. This is followed by the Namara inscription, an epitaph of the king Imru' al-Qays bar 'Amro, dating to 328 CE, found at Namaraa, Syria. From the 4th to the 6th centuries, the Nabataean script evolved into the Arabic script recognizable from the early Islamic era. There are inscriptions in an undotted, 17-letter Arabic script dating to the 6th century CE, found at four locations in Syria (Zabad, Jebel Usays, Harran, ). The oldest surviving papyrus in Arabic dates to 643 CE, and it uses dots to produce the modern 28-letter Arabic alphabet. The language of that papyrus and of the Qur'an is referred to by linguists as "Quranic Arabic", as distinct from its codification soon thereafter into "Classical Arabic".
Classical Arabic.
In late pre-Islamic times, a transdialectal and transcommunal variety of Arabic emerged in the Hejaz, which continued living its parallel life after literary Arabic had been institutionally standardized in the 2nd and 3rd century of the Hijra, most strongly in Judeo-Christian texts, keeping alive ancient features eliminated from the "learned" tradition (Classical Arabic). This variety and both its classicizing and "lay" iterations have been termed Middle Arabic in the past, but they are thought to continue an Old Higazi register. It is clear that the orthography of the Quran was not developed for the standardized form of Classical Arabic; rather, it shows the attempt on the part of writers to record an archaic form of Old Higazi.
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In the late 6th century AD, a relatively uniform intertribal "poetic koine" distinct from the spoken vernaculars developed based on the Bedouin dialects of Najd, probably in connection with the court of al-Ḥīra. During the first Islamic century, the majority of Arabic poets and Arabic-writing persons spoke Arabic as their mother tongue. Their texts, although mainly preserved in far later manuscripts, contain traces of non-standardized Classical Arabic elements in morphology and syntax.
Standardization.
Abu al-Aswad al-Du'ali (–689) is credited with standardizing Arabic grammar, or "an-naḥw" ( "the way"), and pioneering a system of diacritics to differentiate consonants ( "nuqaṭu‿l-i'jām" "pointing for non-Arabs") and indicate vocalization ( "at-tashkīl"). Al-Khalil ibn Ahmad al-Farahidi (718–786) compiled the first Arabic dictionary, "Kitāb al-'Ayn" ( "The Book of the Letter ع"), and is credited with establishing the rules of Arabic prosody. Al-Jahiz (776–868) proposed to Al-Akhfash al-Akbar an overhaul of the grammar of Arabic, but it would not come to pass for two centuries. The standardization of Arabic reached completion around the end of the 8th century. The first comprehensive description of the "ʿarabiyya" "Arabic", Sībawayhi's "al"-"Kitāb", is based first of all upon a corpus of poetic texts, in addition to Qur'an usage and Bedouin informants whom he considered to be reliable speakers of the "ʿarabiyya".
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Spread.
Arabic spread with the spread of Islam. Following the early Muslim conquests, Arabic gained vocabulary from Middle Persian and Turkish. In the early Abbasid period, many Classical Greek terms entered Arabic through translations carried out at Baghdad's House of Wisdom.
By the 8th century, knowledge of Classical Arabic had become an essential prerequisite for rising into the higher classes throughout the Islamic world, both for Muslims and non-Muslims. For example, Maimonides, the Andalusi Jewish philosopher, authored works in Judeo-Arabic—Arabic written in Hebrew script.
Development.
Ibn Jinni of Mosul, a pioneer in phonology, wrote prolifically in the 10th century on Arabic morphology and phonology in works such as "Kitāb Al-Munṣif, Kitāb Al-Muḥtasab, and" .
Ibn Mada' of Cordoba (1116–1196) realized the overhaul of Arabic grammar first proposed by Al-Jahiz 200 years prior.
The Maghrebi lexicographer Ibn Manzur compiled "Lisān al-ʿArab" (, "Tongue of Arabs"), a major reference dictionary of Arabic, in 1290.
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Neo-Arabic.
Charles Ferguson's koine theory claims that the modern Arabic dialects collectively descend from a single military koine that sprang up during the Islamic conquests; this view has been challenged in recent times. Ahmad al-Jallad proposes that there were at least two considerably distinct types of Arabic on the eve of the conquests: Northern and Central (Al-Jallad 2009). The modern dialects emerged from a new contact situation produced following the conquests. Instead of the emergence of a single or multiple koines, the dialects contain several sedimentary layers of borrowed and areal features, which they absorbed at different points in their linguistic histories. According to Veersteegh and Bickerton, colloquial Arabic dialects arose from pidginized Arabic formed from contact between Arabs and conquered peoples. Pidginization and subsequent creolization among Arabs and arabized peoples could explain relative morphological and phonological simplicity of vernacular Arabic compared to Classical and MSA.
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In around the 11th and 12th centuries in al-Andalus, the "zajal" and "muwashah" poetry forms developed in the dialectical Arabic of Cordoba and the Maghreb.
Nahda.
The "Nahda" was a cultural and especially literary renaissance of the 19th century in which writers sought "to fuse Arabic and European forms of expression." According to James L. Gelvin, ""Nahda" writers attempted to simplify the Arabic language and script so that it might be accessible to a wider audience."
In the wake of the industrial revolution and European hegemony and colonialism, pioneering Arabic presses, such as the Amiri Press established by Muhammad Ali (1819), dramatically changed the diffusion and consumption of Arabic literature and publications. Rifa'a al-Tahtawi proposed the establishment of Madrasat al-Alsun in 1836 and led a translation campaign that highlighted the need for a lexical injection in Arabic, to suit concepts of the industrial and post-industrial age (such as "sayyārah" 'automobile' or "bākhirah" 'steamship').
In response, a number of Arabic academies modeled after the were established with the aim of developing standardized additions to the Arabic lexicon to suit these transformations, first in Damascus (1919), then in Cairo (1932), Baghdad (1948), Rabat (1960), Amman (1977), (1993), and Tunis (1993). They review language development, monitor new words and approve the inclusion of new words into their published standard dictionaries. They also publish old and historical Arabic manuscripts.
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In 1997, a bureau of Arabization standardization was added to the Educational, Cultural, and Scientific Organization of the Arab League. These academies and organizations have worked toward the Arabization of the sciences, creating terms in Arabic to describe new concepts, toward the standardization of these new terms throughout the Arabic-speaking world, and toward the development of Arabic as a world language. This gave rise to what Western scholars call Modern Standard Arabic. From the 1950s, Arabization became a postcolonial nationalist policy in countries such as Tunisia, Algeria, Morocco, and Sudan.
Classical, Modern Standard and spoken Arabic.
"Arabic" usually refers to Standard Arabic, which Western linguists divide into Classical Arabic and Modern Standard Arabic. It could also refer to any of a variety of regional vernacular Arabic dialects, which are not necessarily mutually intelligible.Classical Arabic is the language found in the Quran, used from the period of Pre-Islamic Arabia to that of the Abbasid Caliphate. Classical Arabic is prescriptive, according to the syntactic and grammatical norms laid down by classical grammarians (such as Sibawayh) and the vocabulary defined in classical dictionaries (such as the "Lisān al-ʻArab").
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Modern Standard Arabic (MSA) largely follows the grammatical standards of Classical Arabic and uses much of the same vocabulary. However, it has discarded some grammatical constructions and vocabulary that no longer have any counterpart in the spoken varieties and has adopted certain new constructions and vocabulary from the spoken varieties. Much of the new vocabulary is used to denote concepts that have arisen in the industrial and post-industrial era, especially in modern times.
Due to its grounding in Classical Arabic, Modern Standard Arabic is removed over a millennium from everyday speech, which is construed as a multitude of dialects of this language. These dialects and Modern Standard Arabic are described by some scholars as not mutually comprehensible. The former are usually acquired in families, while the latter is taught in formal education settings. However, there have been studies reporting some degree of comprehension of stories told in the standard variety among preschool-aged children.
The relation between Modern Standard Arabic and these dialects is sometimes compared to that of Classical Latin and Vulgar Latin vernaculars (which became Romance languages) in medieval and early modern Europe.
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MSA is the variety used in most current, printed Arabic publications, spoken by some of the Arabic media across North Africa and the Middle East, and understood by most educated Arabic speakers. "Literary Arabic" and "Standard Arabic" ( ") are less strictly defined terms that may refer to Modern Standard Arabic or Classical Arabic.
Some of the differences between Classical Arabic (CA) and Modern Standard Arabic (MSA) are as follows:
MSA uses much Classical vocabulary (e.g., ' 'to go') that is not present in the spoken varieties, but deletes Classical words that sound obsolete in MSA. In addition, MSA has borrowed or coined many terms for concepts that did not exist in Quranic times, and MSA continues to evolve. Some words have been borrowed from other languages—notice that transliteration mainly indicates spelling and not real pronunciation (e.g., ' 'film' or " 'democracy').
The current preference is to avoid direct borrowings, preferring to either use loan translations (e.g., ' 'branch', also used for the branch of a company or organization; ' 'wing', is also used for the wing of an airplane, building, air force, etc.), or to coin new words using forms within existing roots ( ' 'apoptosis', using the root "m/w/t" 'death' put into the Xth form, or ' 'university', based on ' 'to gather, unite'; ' 'republic', based on ' 'multitude'). An earlier tendency was to redefine an older word although this has fallen into disuse (e.g., ' 'telephone' < 'invisible caller (in Sufism)'; "" 'newspaper' < 'palm-leaf stalk').
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"Colloquial" or "dialectal" Arabic refers to the many national or regional varieties which constitute the everyday spoken language. Colloquial Arabic has many regional variants; geographically distant varieties usually differ enough to be mutually unintelligible, and some linguists consider them distinct languages. However, research indicates a high degree of mutual intelligibility between closely related Arabic variants for native speakers listening to words, sentences, and texts; and between more distantly related dialects in interactional situations.The varieties are typically unwritten. They are often used in informal spoken media, such as soap operas and talk shows, as well as occasionally in certain forms of written media such as poetry and printed advertising.
Hassaniya Arabic, Maltese, and Cypriot Arabic are only varieties of modern Arabic to have acquired official recognition. Hassaniya is official in Mali and recognized as a minority language in Morocco, while the Senegalese government adopted the Latin script to write it. Maltese is official in (predominantly Catholic) Malta and written with the Latin script. Linguists agree that it is a variety of spoken Arabic, descended from Siculo-Arabic, though it has experienced extensive changes as a result of sustained and intensive contact with Italo-Romance varieties, and more recently also with English. Due to "a mix of social, cultural, historical, political, and indeed linguistic factors", many Maltese people today consider their language Semitic but not a type of Arabic. Cypriot Arabic is recognized as a minority language in Cyprus.
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Status and usage.
Diglossia.
The sociolinguistic situation of Arabic in modern times provides a prime example of the linguistic phenomenon of diglossia, which is the normal use of two separate varieties of the same language, usually in different social situations. "Tawleed" is the process of giving a new shade of meaning to an old classical word. For example, "al-hatif" lexicographically means the one whose sound is heard but whose person remains unseen. Now the term "al-hatif" is used for a telephone. Therefore, the process of "tawleed" can express the needs of modern civilization in a manner that would appear to be originally Arabic.
In the case of Arabic, educated Arabs of any nationality can be assumed to speak both their school-taught Standard Arabic as well as their native dialects, which depending on the region may be mutually unintelligible. Some of these dialects can be considered to constitute separate languages which may have "sub-dialects" of their own. When educated Arabs of different dialects engage in conversation (for example, a Moroccan speaking with a Lebanese), many speakers code-switch back and forth between the dialectal and standard varieties of the language, sometimes even within the same sentence.
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The issue of whether Arabic is one language or many languages is politically charged, in the same way it is for the varieties of Chinese, Hindi and Urdu, Serbian and Croatian, Scots and English, etc. In contrast to speakers of Hindi and Urdu who claim they cannot understand each other even when they can, speakers of the varieties of Arabic will claim they can all understand each other even when they cannot.
While there is a minimum level of comprehension between all Arabic dialects, this level can increase or decrease based on geographic proximity: for example, Levantine and Gulf speakers understand each other much better than they do speakers from the Maghreb. The issue of diglossia between spoken and written language is a complicating factor: A single written form, differing sharply from any of the spoken varieties learned natively, unites several sometimes divergent spoken forms. For political reasons, Arabs mostly assert that they all speak a single language, despite mutual incomprehensibility among differing spoken versions.
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From a linguistic standpoint, it is often said that the various spoken varieties of Arabic differ among each other collectively about as much as the Romance languages. This is an apt comparison in a number of ways. The period of divergence from a single spoken form is similar—perhaps 1500 years for Arabic, 2000 years for the Romance languages. Also, while it is comprehensible to people from the Maghreb, a linguistically innovative variety such as Moroccan Arabic is essentially incomprehensible to Arabs from the Mashriq, much as French is incomprehensible to Spanish or Italian speakers but relatively easily learned by them. This suggests that the spoken varieties may linguistically be considered separate languages.
Status in the Arab world vis-à-vis other languages.
With the sole example of Medieval linguist Abu Hayyan al-Gharnati – who, while a scholar of the Arabic language, was not ethnically Arab – Medieval scholars of the Arabic language made no efforts at studying comparative linguistics, considering all other languages inferior.
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In modern times, the educated upper classes in the Arab world have taken a nearly opposite view. Yasir Suleiman wrote in 2011 that "studying and knowing English or French in most of the Middle East and North Africa have become a badge of sophistication and modernity and ... feigning, or asserting, weakness or lack of facility in Arabic is sometimes paraded as a sign of status, class, and perversely, even education through a mélange of code-switching practises."
As a foreign language.
Arabic has been taught worldwide in many elementary and secondary schools, especially Muslim schools. Universities around the world have classes that teach Arabic as part of their foreign languages, Middle Eastern studies, and religious studies courses. Arabic language schools exist to assist students to learn Arabic outside the academic world. There are many Arabic language schools in the Arab world and other Muslim countries. Because the Quran is written in Arabic and all Islamic terms are in Arabic, millions of Muslims (both Arab and non-Arab) study the language.
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Software and books with tapes are an important part of Arabic learning, as many of Arabic learners may live in places where there are no academic or Arabic language school classes available. Radio series of Arabic language classes are also provided from some radio stations. A number of websites on the Internet provide online classes for all levels as a means of distance education; most teach Modern Standard Arabic, but some teach regional varieties from numerous countries.
Vocabulary.
Lexicography.
Pre-modern Arabic lexicography.
The tradition of Arabic lexicography extended for about a millennium before the modern period. Early lexicographers ( "lughawiyyūn") sought to explain words in the Quran that were unfamiliar or had a particular contextual meaning, and to identify words of non-Arabic origin that appear in the Quran. They gathered "shawāhid" ( 'instances of attested usage') from poetry and the speech of the Arabs—particularly the Bedouin () who were perceived to speak the "purest," most eloquent form of Arabic—initiating a process of "jamʿu‿l-luɣah" ( 'compiling the language') which took place over the 8th and early 9th centuries."Kitāb al-'Ayn" (), attributed to Al-Khalil ibn Ahmad al-Farahidi, is considered the first lexicon to include all Arabic roots; it sought to exhaust all possible root permutations—later called "taqālīb" ()"—"calling those that are actually used "mustaʿmal" () and those that are not used "muhmal" (). "Lisān al-ʿArab" (1290) by Ibn Manzur gives 9,273 roots, while "Tāj al-ʿArūs" (1774) by Murtada az-Zabidi gives 11,978 roots.
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This lexicographic tradition was traditionalist and corrective in nature—holding that linguistic correctness and eloquence derive from Qurʾānic usage, , and Bedouin speech—positioning itself against "laḥnu‿l-ʿāmmah" (), the solecism it viewed as defective.
Western lexicography of Arabic.
In the second half of the 19th century, the British Arabist Edward William Lane, working with the Egyptian scholar , compiled the "Arabic–English Lexicon" by translating material from earlier Arabic lexica into English. The German Arabist Hans Wehr, with contributions from Hedwig Klein, compiled the "Arabisches Wörterbuch für die Schriftsprache der Gegenwart" (1952), later translated into English as "A Dictionary of Modern Written Arabic" (1961), based on established usage, especially in literature.
Modern Arabic lexicography.
The Academy of the Arabic Language in Cairo sought to publish a historical dictionary of Arabic in the vein of the "Oxford English Dictionary", tracing the changes of meanings and uses of Arabic words over time. A first volume of "Al-Muʿjam al-Kabīr" was published in 1956 under the leadership of Taha Hussein. The project is not yet complete; its 15th volume, covering the letter "ṣād", was published in 2022.
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Loanwords.
The most important sources of borrowings into (pre-Islamic) Arabic are from the related (Semitic) languages Aramaic, which used to be the principal, international language of communication throughout the ancient Near and Middle East, and Ethiopic. Many cultural, religious and political terms have entered Arabic from Iranian languages, notably Middle Persian, Parthian, and (Classical) Persian, and Hellenistic Greek ("kīmiyāʼ" has as origin the Greek "khymia", meaning in that language the melting of metals; see Roger Dachez, "Histoire de la Médecine de l'Antiquité au XXe siècle", Tallandier, 2008, p. 251), "alembic" (distiller) from "ambix" (cup), "almanac" (climate) from "almenichiakon" (calendar).
For the origin of the last three borrowed words, see Alfred-Louis de Prémare, "Foundations of Islam", Seuil, L'Univers Historique, 2002. Some Arabic borrowings from Semitic or Persian languages are, as presented in De Prémare's above-cited book:
A comprehensive overview of the influence of other languages on Arabic is found in Lucas & Manfredi (2020).
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Influence on other languages.
The influence of Arabic has been most important in Islamic countries, because it is the language of the Islamic sacred book, the Quran. Arabic is also an important source of vocabulary for languages such as Amharic, Azerbaijani, Baluchi, Bengali, Berber, Bosnian, Chaldean, Chechen, Chittagonian, Croatian, Dagestani, Dhivehi, English, German, Gujarati, Hausa, Hindi, Kazakh, Kurdish, Kutchi, Kyrgyz, Malay (Malaysian and Indonesian), Pashto, Persian, Punjabi, Rohingya, Romance languages (French, Catalan, Italian, Portuguese, Sicilian, Spanish, etc.) Saraiki, Sindhi, Somali, Sylheti, Swahili, Tagalog, Tigrinya, Turkish, Turkmen, Urdu, Uyghur, Uzbek, Visayan and Wolof, as well as other languages in countries where these languages are spoken. Modern Hebrew has been also influenced by Arabic especially during the process of revival, as MSA was used as a source for modern Hebrew vocabulary and roots.
English has many Arabic loanwords, some directly, but most via other Mediterranean languages. Examples of such words include admiral, adobe, alchemy, alcohol, algebra, algorithm, alkaline, almanac, amber, arsenal, assassin, candy, carat, cipher, coffee, cotton, ghoul, hazard, jar, kismet, lemon, loofah, magazine, mattress, sherbet, sofa, sumac, tariff, and zenith. Other languages such as Maltese and Kinubi derive ultimately from Arabic, rather than merely borrowing vocabulary or grammatical rules.
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Terms borrowed range from religious terminology (like Berber "taẓallit", "prayer", from "salat" ( ')), academic terms (like Uyghur "mentiq", "logic"), and economic items (like English "coffee") to placeholders (like Spanish ', "so-and-so"), everyday terms (like Hindustani "lekin", "but", or Spanish and French ', meaning "cup"), and expressions (like Catalan ', "galore, in quantity"). Most Berber varieties (such as Kabyle), along with Swahili, borrow some numbers from Arabic. Most Islamic religious terms are direct borrowings from Arabic, such as ("ṣalāh"), "prayer", and ("imām"), "prayer leader".
In languages not directly in contact with the Arab world, Arabic loanwords are often transferred indirectly via other languages rather than being transferred directly from Arabic. For example, most Arabic loanwords in Hindustani and Turkish entered through Persian. Older Arabic loanwords in Hausa were borrowed from Kanuri. Most Arabic loanwords in Yoruba entered through Hausa.
Arabic words made their way into several West African languages as Islam spread across the Sahara. Variants of Arabic words such as "kitāb" ("book") have spread to the languages of African groups who had no direct contact with Arab traders.
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Since, throughout the Islamic world, Arabic occupied a position similar to that of Latin in Europe, many of the Arabic concepts in the fields of science, philosophy, commerce, etc. were coined from Arabic roots by non-native Arabic speakers, notably by Aramaic and Persian translators, and then found their way into other languages. This process of using Arabic roots, especially in Kurdish and Persian, to translate foreign concepts continued through to the 18th and 19th centuries, when swaths of Arab-inhabited lands were under Ottoman rule.
Spoken varieties.
"Colloquial Arabic" is a collective term for the spoken dialects of Arabic used throughout the Arab world, which differ radically from the literary language. The main dialectal division is between the varieties within and outside of the Arabian peninsula, followed by that between sedentary varieties and the much more conservative Bedouin varieties. All the varieties outside of the Arabian peninsula, which include the large majority of speakers, have many features in common with each other that are not found in Classical Arabic. This has led researchers to postulate the existence of a prestige koine dialect in the one or two centuries immediately following the Arab conquest, whose features eventually spread to all newly conquered areas. These features are present to varying degrees inside the Arabian peninsula. Generally, the Arabian peninsula varieties have much more diversity than the non-peninsula varieties, but these have been understudied.
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Within the non-peninsula varieties, the largest difference is between the non-Egyptian North African dialects, especially Moroccan Arabic, and the others. Moroccan Arabic in particular is hardly comprehensible to Arabic speakers east of Libya (although the converse is not true, in part due to the popularity of Egyptian films and other media).
One factor in the differentiation of the dialects is influence from the languages previously spoken in the areas, which have typically provided many new words and have sometimes also influenced pronunciation or word order. However, a more weighty factor for most dialects is, as among Romance languages, retention (or change of meaning) of different classical forms. Thus Iraqi "aku", Levantine and Peninsular "fīh" and North African "kayən" all mean 'there is', and all come from Classical Arabic forms ("yakūn", "fīhi", "kā'in" respectively), but now sound very different.
Koiné.
According to Charles A. Ferguson, the following are some of the characteristic features of the koiné that underlies all the modern dialects outside the Arabian peninsula. Although many other features are common to most or all of these varieties, Ferguson believes that these features in particular are unlikely to have evolved independently more than once or twice and together suggest the existence of the koine:
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Phonology.
While many languages have numerous dialects that differ in phonology, contemporary spoken Arabic is more properly described as a continuum of varieties. Modern Standard Arabic (MSA), is the standard variety shared by educated speakers throughout Arabic-speaking regions. MSA is used in writing in formal print media and orally in newscasts, speeches and formal declarations of numerous types.
Modern Standard Arabic has 28 consonant phonemes and 6 vowel phonemes. All phonemes contrast between "emphatic" (pharyngealized) consonants and non-emphatic ones. Some of these phonemes have coalesced in the various modern dialects, while new phonemes have been introduced through borrowing or phonemic splits. A "phonemic quality of length" applies to consonants as well as vowels.
Grammar.
The grammar of Arabic has similarities with the grammar of other Semitic languages. Some of the typical differences between Standard Arabic () and vernacular varieties are a loss of morphological markings of grammatical case, changes in word order, a shift toward more analytic morphosyntax, loss of grammatical mood, and loss of the inflected passive voice.
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Literary Arabic.
As in other Semitic languages, Arabic has a complex and unusual morphology, i.e. method of constructing words from a basic root. Arabic has a nonconcatenative "root-and-pattern" morphology: A root consists of a set of bare consonants (usually three), which are fitted into a discontinuous pattern to form words. For example, the word for 'I wrote' is constructed by combining the root ' 'write' with the pattern ' 'I Xed' to form " 'I wrote'.
Other verbs meaning 'I Xed' will typically have the same pattern but with different consonants, e.g. ' 'I read', ' 'I ate', ' 'I went', although other patterns are possible, e.g. ' 'I drank', ' 'I said', ' 'I spoke', where the subpattern used to signal the past tense may change but the suffix " is always used.
From a single root , numerous words can be formed by applying different patterns:
Nouns and adjectives.
Nouns in Literary Arabic have three grammatical cases (nominative, accusative, and genitive [also used when the noun is governed by a preposition]); three numbers (singular, dual and plural); two genders (masculine and feminine); and three "states" (indefinite, definite, and construct). The cases of singular nouns, other than those that end in long ā, are indicated by suffixed short vowels (/-u/ for nominative, /-a/ for accusative, /-i/ for genitive).
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The feminine singular is often marked by /-at/, which is pronounced as /-ah/ before a pause. Plural is indicated either through endings (the sound plural) or internal modification (the broken plural). Definite nouns include all proper nouns, all nouns in "construct state" and all nouns which are prefixed by the definite article /al-/. Indefinite singular nouns, other than those that end in long ā, add a final /-n/ to the case-marking vowels, giving /-un/, /-an/ or /-in/, which is also referred to as nunation or tanwīn.
Adjectives in Literary Arabic are marked for case, number, gender and state, as for nouns. The plural of all non-human nouns is always combined with a singular feminine adjective, which takes the /-at/ suffix.
Pronouns in Literary Arabic are marked for person, number and gender. There are two varieties, independent pronouns and enclitics. Enclitic pronouns are attached to the end of a verb, noun or preposition and indicate verbal and prepositional objects or possession of nouns. The first-person singular pronoun has a different enclitic form used for verbs ( /-nī/) and for nouns or prepositions ( /-ī/ after consonants, /-ya/ after vowels).
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Nouns, verbs, pronouns and adjectives agree with each other in all respects. Non-human plural nouns are grammatically considered to be feminine singular. A verb in a verb-initial sentence is marked as singular regardless of its semantic number when the subject of the verb is explicitly mentioned as a noun. Numerals between three and ten show "chiasmic" agreement, in that grammatically masculine numerals have feminine marking and vice versa.
Verbs.
Verbs in Literary Arabic are marked for person (first, second, or third), gender, and number. They are conjugated in two major paradigms (past and non-past); two voices (active and passive); and six moods (indicative, imperative, subjunctive, jussive, shorter energetic and longer energetic); the fifth and sixth moods, the energetics, exist only in Classical Arabic but not in MSA. There are two participles, active and passive, and a verbal noun, but no infinitive.
The past and non-past paradigms are sometimes termed perfective and imperfective, indicating the fact that they actually represent a combination of tense and aspect. The moods other than the indicative occur only in the non-past, and the future tense is signaled by prefixing ' or ' onto the non-past. The past and non-past differ in the form of the stem (e.g., past ' vs. non-past '), and use completely different sets of affixes for indicating person, number and gender: In the past, the person, number and gender are fused into a single suffixal morpheme, while in the non-past, a combination of prefixes (primarily encoding person) and suffixes (primarily encoding gender and number) are used. The passive voice uses the same person/number/gender affixes but changes the vowels of the stem.
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The following shows a paradigm of a regular Arabic verb, "" 'to write'. In Modern Standard, the energetic mood, in either long or short form, which has the same meaning, is almost never used.
Derivation.
Like other Semitic languages, and unlike most other languages, Arabic makes much more use of nonconcatenative morphology, applying many templates applied to roots, to derive words than adding prefixes or suffixes to words.
For verbs, a given root can occur in many different derived verb stems, of which there are about fifteen, each with one or more characteristic meanings and each with its own templates for the past and non-past stems, active and passive participles, and verbal noun. These are referred to by Western scholars as "Form I", "Form II", and so on through "Form XV", although Forms XI to XV are rare.
These stems encode grammatical functions such as the causative, intensive and reflexive. Stems sharing the same root consonants represent separate verbs, albeit often semantically related, and each is the basis for its own conjugational paradigm. As a result, these derived stems are part of the system of derivational morphology, not part of the inflectional system.
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Examples of the different verbs formed from the root ' 'write' (using ' 'red' for Form IX, which is limited to colors and physical defects):
Form II is sometimes used to create transitive denominative verbs (verbs built from nouns); Form V is the equivalent used for intransitive denominatives.
The associated participles and verbal nouns of a verb are the primary means of forming new lexical nouns in Arabic. This is similar to the process by which, for example, the English gerund "meeting" (similar to a verbal noun) has turned into a noun referring to a particular type of social, often work-related event where people gather together to have a "discussion" (another lexicalized verbal noun). Another fairly common means of forming nouns is through one of a limited number of patterns that can be applied directly to roots, such as the "nouns of location" in "ma-" (e.g. ' 'desk, office' < ' 'write', ' 'kitchen' < ' 'cook').
The only three genuine suffixes are as follows:
Colloquial varieties.
The spoken dialects have lost the case distinctions and make only limited use of the dual (it occurs only on nouns and its use is no longer required in all circumstances). They have lost the mood distinctions other than imperative, but many have since gained new moods through the use of prefixes (most often /bi-/ for indicative vs. unmarked subjunctive). They have also mostly lost the indefinite "nunation" and the internal passive.
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The following is an example of a regular verb paradigm in Egyptian Arabic.
Writing system.
The Arabic alphabet derives from the Aramaic through Nabatean, to which it bears a loose resemblance like that of Coptic or Cyrillic scripts to Greek script. Traditionally, there were several differences between the Western (North African) and Middle Eastern versions of the alphabet—in particular, the "faʼ" had a dot underneath and "qaf" a single dot above in the Maghreb, and the order of the letters was slightly different (at least when they were used as numerals).
However, the old Maghrebi variant has been abandoned except for calligraphic purposes in the Maghreb itself, and remains in use mainly in the Quranic schools (zaouias) of West Africa. Arabic, like all other Semitic languages (except for the Latin-written Maltese, and the languages with the Ge'ez script), is written from right to left. There are several styles of scripts such as thuluth, muhaqqaq, tawqi, rayhan, and notably naskh, which is used in print and by computers, and ruqʻah, which is commonly used for correspondence.
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Originally Arabic was made up of only "rasm" without diacritical marks Later diacritical points (which in Arabic are referred to as "nuqaṯ") were added (which allowed readers to distinguish between letters such as b, t, th, n and y). Finally signs known as "Tashkil" were used for short vowels known as "harakat" and other uses such as final postnasalized or long vowels.
Notes:
Calligraphy.
After Khalil ibn Ahmad al Farahidi finally fixed the Arabic script around 786, many styles were developed, both for the writing down of the Quran and other books, and for inscriptions on monuments as decoration.
Arabic calligraphy has not fallen out of use as calligraphy has in the Western world, and is still considered by Arabs as a major art form; calligraphers are held in great esteem. Being cursive by nature, unlike the Latin script, Arabic script is used to write down a verse of the Quran, a hadith, or a proverb. The composition is often abstract, but sometimes the writing is shaped into an actual form such as that of an animal. One of the current masters of the genre is Hassan Massoudy.
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In modern times the intrinsically calligraphic nature of the written Arabic form is haunted by the thought that a typographic approach to the language, necessary for digitized unification, will not always accurately maintain meanings conveyed through calligraphy.
Romanization.
There are a number of different standards for the romanization of Arabic, i.e. methods of accurately and efficiently representing Arabic with the Latin script. There are various conflicting motivations involved, which leads to multiple systems. Some are interested in transliteration, i.e. representing the "spelling" of Arabic, while others focus on transcription, i.e. representing the "pronunciation" of Arabic. (They differ in that, for example, the same letter is used to represent both a consonant, as in "you" or "yet", and a vowel, as in "me" or "eat".)
Some systems, e.g. for scholarly use, are intended to accurately and unambiguously represent the phonemes of Arabic, generally making the phonetics more explicit than the original word in the Arabic script. These systems are heavily reliant on diacritical marks such as "š" for the sound equivalently written "sh" in English. Other systems (e.g. the Bahá'í orthography) are intended to help readers who are neither Arabic speakers nor linguists with intuitive pronunciation of Arabic names and phrases.
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These less "scientific" systems tend to avoid diacritics and use digraphs (like "sh" and "kh"). These are usually simpler to read, but sacrifice the definiteness of the scientific systems, and may lead to ambiguities, e.g. whether to interpret "sh" as a single sound, as in "gash", or a combination of two sounds, as in "gashouse". The ALA-LC romanization solves this problem by separating the two sounds with a prime symbol ( ′ ); e.g., "as′hal" 'easier'.
During the last few decades and especially since the 1990s, Western-invented text communication technologies have become prevalent in the Arab world, such as personal computers, the World Wide Web, email, bulletin board systems, IRC, instant messaging and mobile phone text messaging. Most of these technologies originally had the ability to communicate using the Latin script only, and some of them still do not have the Arabic script as an optional feature. As a result, Arabic speaking users communicated in these technologies by transliterating the Arabic text using the Latin script.
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To handle those Arabic letters that cannot be accurately represented using the Latin script, numerals and other characters were appropriated. For example, the numeral "3" may be used to represent the Arabic letter . There is no universal name for this type of transliteration, but some have named it Arabic Chat Alphabet or IM Arabic. Other systems of transliteration exist, such as using dots or capitalization to represent the "emphatic" counterparts of certain consonants. For instance, using capitalization, the letter , may be represented by d. Its emphatic counterpart, , may be written as D.
Numerals.
In most of present-day North Africa, the Western Arabic numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, 9) are used. However, in Egypt and Arabic-speaking countries to the east of it, the Eastern Arabic numerals ( – – – – – – – – – ) are in use. When representing a number in Arabic, the lowest-valued position is placed on the right, so the order of positions is the same as in left-to-right scripts. Sequences of digits such as telephone numbers are read from left to right, but numbers are spoken in the traditional Arabic fashion, with units and tens reversed from the modern English usage. For example, 24 is said "four and twenty" just like in the German language ("vierundzwanzig") and Classical Hebrew, and 1975 is said "a thousand and nine-hundred and five and seventy" or, more eloquently, "a thousand and nine-hundred five seventy".
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Arabic alphabet and nationalism.
There have been many instances of national movements to convert Arabic script into Latin script or to Romanize the language. Currently, the only Arabic variety to use Latin script is Maltese.
Lebanon.
The Beirut newspaper "La Syrie" pushed for the change from Arabic script to Latin letters in 1922. The major head of this movement was Louis Massignon, a French Orientalist, who brought his concern before the Arabic Language Academy in Damascus in 1928. Massignon's attempt at Romanization failed as the academy and population viewed the proposal as an attempt from the Western world to take over their country. Sa'id Afghani, a member of the academy, mentioned that the movement to Romanize the script was a Zionist plan to dominate Lebanon. Said Akl created a Latin-based alphabet for Lebanese and used it in a newspaper he founded, "Lebnaan", as well as in some books he wrote.
Egypt.
After the period of colonialism in Egypt, Egyptians were looking for a way to reclaim and re-emphasize Egyptian culture. As a result, some Egyptians pushed for an Egyptianization of the Arabic language in which the formal Arabic and the colloquial Arabic would be combined into one language and the Latin alphabet would be used. There was also the idea of finding a way to use Hieroglyphics instead of the Latin alphabet, but this was seen as too complicated to use.
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A scholar, Salama Musa agreed with the idea of applying a Latin alphabet to Arabic, as he believed that would allow Egypt to have a closer relationship with the West. He also believed that Latin script was key to the success of Egypt as it would allow for more advances in science and technology. This change in alphabet, he believed, would solve the problems inherent with Arabic, such as a lack of written vowels and difficulties writing foreign words that made it difficult for non-native speakers to learn. Ahmad Lutfi As Sayid and Muhammad Azmi, two Egyptian intellectuals, agreed with Musa and supported the push for Romanization.
The idea that Romanization was necessary for modernization and growth in Egypt continued with Abd Al-Aziz Fahmi in 1944. He was the chairman for the Writing and Grammar Committee for the Arabic Language Academy of Cairo. This effort failed as the Egyptian people felt a strong cultural tie to the Arabic alphabet. In particular, the older Egyptian generations believed that the Arabic alphabet had strong connections to Arab values and history, due to the long history of the Arabic alphabet (Shrivtiel, 189) in Muslim societies.
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Alfred Hitchcock
Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English film director. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", Hitchcock became as well known as any of his actors thanks to his many interviews, his cameo appearances in most of his films, and his hosting and producing the television anthology "Alfred Hitchcock Presents" (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director, despite five nominations.
Hitchcock initially trained as a technical clerk and copywriter before entering the film industry in 1919 as a title card designer. His directorial debut was the British–German silent film "The Pleasure Garden" (1925). His first successful film, "" (1927), helped to shape the thriller genre, and "Blackmail" (1929) was the first British "". His thrillers "The 39 Steps" (1935) and "The Lady Vanishes" (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including "Rebecca" (1940), "Foreign Correspondent" (1940), "Suspicion" (1941), "Shadow of a Doubt" (1943) and "Notorious" (1946). "Rebecca" won the Academy Award for Best Picture, with Hitchcock nominated as Best Director. He also received Oscar nominations for "Lifeboat" (1944), "Spellbound" (1945), "Rear Window" (1954) and "Psycho" (1960).
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Hitchcock's other notable films include "Rope" (1948), "Strangers on a Train" (1951), "Dial M for Murder" (1954), "To Catch a Thief" (1955), "The Trouble with Harry" (1955), "Vertigo" (1958), "North by Northwest" (1959), "The Birds" (1963), "Marnie" (1964) and "Frenzy" (1972), all of which were also financially successful and are highly regarded by film historians. Hitchcock made a number of films with some of the biggest stars in Hollywood, including four with Cary Grant, four with James Stewart, three with Ingrid Bergman and three consecutively with Grace Kelly. Hitchcock became an American citizen in 1955.
In 2012, Hitchcock's psychological thriller "Vertigo", starring Stewart, displaced Orson Welles' "Citizen Kane" (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics. , nine of his films had been selected for preservation in the United States National Film Registry, including his personal favourite, "Shadow of a Doubt" (1943). He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979, and was knighted in December of that year, four months before his death on 29 April 1980.
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Biography.
Early life: 1899–1919.
Early childhood and education.
Alfred Joseph Hitchcock was born on 13 August 1899 in the flat above his parents' leased greengrocer's shop at 517 High Road in Leytonstone, which was then part of Essex (now part of the London Borough of Waltham Forest). He was the son of greengrocer and poulterer, William Edgar Hitchcock (1862–1914) and Emma Jane (née Whelan; 1863–1942). The household was "characterised by an atmosphere of discipline". He had an older brother named William John (1888–1943) and an older sister named Ellen Kathleen (1892–1979) who used the nickname "Nellie". His parents were both Roman Catholics with English and Irish ancestry. His father was a greengrocer, as his grandfather had been. There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road in Putney, complete with a maid, cook, chauffeur, and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville, Kent. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals.
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Describing himself as a well-behaved boyhis father called him his "little lamb without a spot"Hitchcock said he could not remember ever having had a playmate. One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him with a lifelong phobia of law enforcement, and he told Tom Snyder in 1973 that he was "scared stiff of anything ... to do with the law" and that he would refuse to even drive a car in case he got a parking ticket. When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chip shop and fishmongers' respectively; they lived above the former. Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7. According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys" run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.
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The family moved again when Hitchcock was eleven, this time to Stepney, and on 5 October 1910 he was sent to St Ignatius College in Stamford Hill, a Jesuit grammar school with a reputation for discipline. As corporal punishment, the priests used a flat, hard, springy tool made of gutta-percha and known as a "ferula" which struck the whole palm; punishment was always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear. The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a ten-year-old because he was a year behind with his schooling. While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil", Hitchcock said that he was "usually among the four or five at the top of the class"; at the end of his first year, his work in Latin, English, French and religious education was noted. He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis."
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Hitchcock's favourite subject was geography and he became interested in maps and the timetables of trains, trams and buses; according to John Russell Taylor, he could recite all the stops on the "Orient Express". He had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular "The Lady Vanishes", "Strangers on a Train" and "Number Seventeen". A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed "Scene 23; Take 3", he would whisper "Woodford, Hampstead"Woodford being the terminus of the route 23 tram, and Hampstead the end of route 3.
Henley's.
Hitchcock told his parents that he wanted to be an engineer, and on 25 July 1913, he left St Ignatius and enrolled in night classes at the London County Council School of Engineering and Navigation in Poplar. In a book-length interview in 1962, he told François Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then, on 12 December 1914, his father, who had been suffering from emphysema and kidney disease, died at the age of 52. To support himself and his motherhis older siblings had left home by thenHitchcock took a job, for 15 shillings a week (£ in ), as a technical clerk at the Henley Telegraph and Cable Company in Blomfield Street, near London Wall. He continued night classes, this time in art history, painting, economics and political science. His older brother ran the family shops, while he and his mother continued to live in Salmon Lane.
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Hitchcock was too young to enlist when the First World War started in July 1914, and when he reached the required age of 18 in 1917, he received a C3 classification ("free from serious organic disease, able to stand service conditions in garrisons at home ... only suitable for sedentary work"). He joined a cadet regiment of the Royal Engineers and took part in theoretical briefings, weekend drills and exercises. John Russell Taylor wrote that, in one session of practical exercises in Hyde Park, Hitchcock was required to wear puttees. He could never master wrapping them around his legs, and they repeatedly fell down around his ankles.
After the war, Hitchcock took an interest in creative writing. In June 1919, he became a founding editor and business manager of Henley's in-house publication, "The Henley Telegraph" (sixpence a copy), to which he submitted several short stories. Henley's promoted him to the advertising department, where he wrote copy and drew graphics for electric cable advertisements. He enjoyed the job and would stay late at the office to examine the proofs; he told Truffaut that this was his "first step toward cinema". He enjoyed watching films, especially American cinema, and from the age of 16 read the trade papers; he watched Charlie Chaplin, D. W. Griffith and Buster Keaton, and particularly liked Fritz Lang's "Der müde Tod" (released in Britain in 1921 as "Destiny").
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Inter-war career: 1919–1939.
Famous Players–Lasky.
While still at Henley's, he read in a trade paper that Famous Players–Lasky, the production arm of Paramount Pictures, was opening a studio in London. They were planning to film "The Sorrows of Satan" by Marie Corelli, so he produced some drawings for the title cards and sent his work to the studio. They hired him, and in 1919 he began working for Islington Studios in Poole Street, Hoxton, as a title-card designer.
Donald Spoto wrote that most of the staff were Americans with strict job specifications, but the English workers were encouraged to try their hand at anything, which meant that Hitchcock gained experience as a co-writer, art director and production manager on at least 18 silent films. "The Times" wrote in February 1922 about the studio's "special art title department under the supervision of Mr. A. J. Hitchcock". His work included "Number 13" (1922), also known as "Mrs. Peabody;" it was cancelled because of financial problems - the few finished scenes are lostand "Always Tell Your Wife" (1923), which he and Seymour Hicks finished together when Hicks was about to give up on it. Hicks wrote later about being helped by "a fat youth who was in charge of the property room ... [n]one other than Alfred Hitchcock".
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Gainsborough Pictures and work in Germany.
When Paramount pulled out of London in 1922, Hitchcock was hired as an assistant director by a new firm run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on "Woman to Woman" (1923) with the director Graham Cutts, designing the set, writing the script and producing. He said: "It was the first film that I had really got my hands onto." The editor and "script girl" on "Woman to Woman" was Alma Reville, his future wife. He also worked as an assistant to Cutts on "The White Shadow" (1924), "The Passionate Adventure" (1924), "The Blackguard" (1925) and "The Prude's Fall" (1925). "The Blackguard" was produced at the Babelsberg Studios in Potsdam, where Hitchcock watched part of the making of F. W. Murnau's "The Last Laugh" (1924). He was impressed with Murnau's work, and later used many of his techniques for the set design in his own productions.
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In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers and producers to build connections. Balcon asked him to direct a second film in Munich, "The Mountain Eagle" (1926), based on an original story titled "Fear o' God". The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed "The Ring"; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. "The Ring" garnered positive reviews; the "Bioscope" critic called it "the most magnificent British film ever made".
When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu, Adrian Brunel and Walter Mycroft. Hitchcock recognised the value in cultivating his own brand, with the director aggressively promoting himself during this period. In a 1925 London Film Society meeting he declared directors were what mattered most in making films, with Donald Spoto writing that Hitchcock proclaimed, ""We" make a film succeed. The name of the director should be associated in the public's mind with a quality product. Actors come and go, but the name of the director should stay clearly in the mind of the audience."
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Hitchcock established himself as a name director with his first thriller, "" (1927). The film concerns the hunt for a Jack the Ripper-style serial killer who, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is the killer, but he turns out to be innocent. Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matinée idol, and the "star system" meant that Novello could not be the villain. Hitchcock told Truffaut: "You have to clearly spell it out in big letters: 'He is innocent.'" (He had the same problem years later with Cary Grant in "Suspicion" (1941).) Released in January 1927, "The Lodger" was a commercial and critical success in the UK. Upon its release, the trade journal "Bioscope" wrote: "It is possible that this film is the finest British production ever made". Hitchcock told Truffaut that the film was the first of his to be influenced by German Expressionism: "In truth, you might almost say that "The Lodger" was my first picture." In a strategy for self-publicity, "The Lodger" saw him make his first cameo appearance in a film, where he sat in a newsroom.
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Continuing to market his brand following the success of "The Lodger", Hitchcock wrote a letter to the "London Evening News" in November 1927 about his filmmaking, participated in studio-produced publicity, and by December 1927 he developed the original sketch of his widely recognised profile which he introduced by sending it to friends and colleagues as a Christmas present.
Marriage.
On 2 December 1926, Hitchcock married the English screenwriter Alma Reville at the Brompton Oratory in South Kensington. The couple honeymooned in Paris, Lake Como and St. Moritz, before returning to London to live in a leased flat on the top two floors of 153 Cromwell Road, Kensington. Reville, who was born just hours after Hitchcock, converted from Protestantism to Catholicism, apparently at the insistence of Hitchcock's mother; she was baptised on 31 May 1927 and confirmed at Westminster Cathedral by Cardinal Francis Bourne on 5 June.
In 1928, when they learned that Reville was pregnant, the Hitchcocks purchased "Winter's Grace", a Tudor farmhouse set in eleven acres on Stroud Lane, Shamley Green, Surrey, for £2,500. Their daughter and only child, Patricia (Pat) Alma Hitchcock, was born on 7 July that year. Pat died on 9 August 2021 at the age of 93.
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Reville became her husband's closest collaborator; Charles Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's." When Hitchcock accepted the AFI Life Achievement Award in 1979, he said that he wanted to mention "four people who have given me the most affection, appreciation and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville." Reville wrote or co-wrote on many of Hitchcock's films, including "Shadow of a Doubt", "Suspicion" and "The 39 Steps".
Early sound films.
Hitchcock began work on his tenth film, "Blackmail" (1929), when its production company, British International Pictures (BIP), converted its Elstree studios to sound. The film was the first British ""; this followed the rapid development of sound films in the United States, from the use of brief sound segments in "The Jazz Singer" (1927) to the first full sound feature "Lights of New York" (1928). "Blackmail" began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences, which includes an early example of a red telephone box being used for criminal activity, while the climax takes place on the dome of the British Museum. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground. In the PBS series "The Men Who Made The Movies", Hitchcock explained how he used early sound recording as a special element of the film to create tension, with a gossipy woman (Phyllis Monkman) stressing the word "knife" in her conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP revue, "Elstree Calling" (1930), and directed a short film, "An Elastic Affair" (1930), featuring two "Film Weekly" scholarship winners. "An Elastic Affair" is one of the lost films.
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In 1933, Hitchcock signed a multi-film contract with Gaumont-British, once again working for Michael Balcon. His first film for the company, "The Man Who Knew Too Much" (1934), was a success; his second, "The 39 Steps" (1935), was acclaimed in the UK, and gained him recognition in the US. It also established the quintessential English "Hitchcock blonde" (Madeleine Carroll) as the template for his succession of ice-cold, elegant leading ladies. Screenwriter Robert Towne remarked: "It's not much of an exaggeration to say that all contemporary escapist entertainment begins with "The 39 Steps"". John Buchan, author of "The Thirty-Nine Steps" on which the film is loosely based, met with Hitchcock on set, and attended the high-profile premiere at the New Gallery Cinema in London. Upon viewing the film, the author said it had improved on the book. This film was one of the first to introduce the "MacGuffin" plot device, a term coined by the English screenwriter and Hitchcock collaborator Angus MacPhail. The MacGuffin is an item or goal the protagonist is pursuing, one that otherwise has no narrative value; in "The 39 Steps", the MacGuffin is a stolen set of design plans.
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Hitchcock released two spy thrillers in 1936. "Sabotage" was loosely based on Joseph Conrad's novel, "The Secret Agent" (1907), about a woman who discovers that her husband is a terrorist, and "Secret Agent", based on two stories in "" (1928) by W. Somerset Maugham. In his positive review of "Sabotage" for "The Spectator", the writer and journalist Graham Greene identified the children's matinée scene as an "ingenious and pathetic twist stamped as Mr Hitchcock's own". "Secret Agent" starred Madeleine Carroll and John Gielgud, with Peter Lorre playing Gielgud's deranged assistant, and typical Hitchcockian themes include mistaken identity, trains and a "Hitchcock blonde".
At this time, Hitchcock also became notorious for pranks against the cast and crew. These jokes ranged from simple and innocent to crazy and maniacal. For instance, he hosted a dinner party where he dyed all the food blue because he claimed there weren't enough blue foods. He also had a horse delivered to the dressing room of his friend, actor Gerald du Maurier.
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Hitchcock followed up with "Young and Innocent" in 1937, a crime thriller based on the 1936 novel "A Shilling for Candles" by Josephine Tey. Starring Nova Pilbeam and Derrick De Marney, the film was relatively enjoyable for the cast and crew to make. To meet distribution purposes in America, the film's runtime was cut and this included removal of one of Hitchcock's favourite scenes: a children's tea party which becomes menacing to the protagonists.
Hitchcock's next major success was "The Lady Vanishes" (1938), "one of the greatest train movies from the genre's golden era", according to Philip French, in which Miss Froy (May Whitty), a British spy posing as a governess, disappears on a train journey through the fictional European country of Bandrika. The film saw Hitchcock receive the 1938 New York Film Critics Circle Award for Best Director. Benjamin Crisler of "The New York Times" wrote in June 1938: "Three unique and valuable institutions the British have that we in America have not: Magna Carta, the Tower Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world." The film was based on the novel "The Wheel Spins" (1936) written by Ethel Lina White, and starred Michael Redgrave (in his film debut) and Margaret Lockwood.
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By 1938, Hitchcock was aware that he had reached his peak in Britain. He had received numerous offers from producers in the United States, but he turned them all down because he disliked the contractual obligations or thought the projects were repellent. However, producer David O. Selznick offered him a concrete proposal to make a film based on the sinking of , which was eventually shelved, but Selznick persuaded Hitchcock to come to Hollywood. In June 1938, Hitchcock sailed to New York aboard the RMS "Queen Mary", and found that he was already a celebrity; he was featured in magazines and gave interviews to radio stations. In Hollywood, Hitchcock met Selznick for the first time. Selznick offered him a four-film contract, approximately $40,000 for each picture (). Before finalising any American deal, Hitchcock had one last film to make in England, as director of the Charles Laughton-produced picture "Jamaica Inn" (1939), which he had signed on to make in May 1938, right before his first trip to the US.
Early Hollywood years: 1939–1945.
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Selznick contract.
Selznick signed Hitchcock to a seven-year contract beginning in April 1939, and the Hitchcocks moved to Hollywood. The Hitchcocks lived in a spacious flat on Wilshire Boulevard, and slowly acclimatised themselves to the Los Angeles area. He and his wife Alma kept a low profile, and were not interested in attending parties or being celebrities. Hitchcock discovered his taste for fine food in West Hollywood, but still carried on his way of life from England. He was impressed with Hollywood's filmmaking culture, expansive budgets and efficiency, compared to the limits that he had often faced in Britain. In June that year, "Life" called him the "greatest master of melodrama in screen history".
Although Hitchcock and Selznick respected each other, their working arrangements were sometimes difficult. Selznick suffered from constant financial problems, and Hitchcock was often unhappy about Selznick's creative control and interference over his films. Selznick was also displeased with Hitchcock's method of shooting just what was in the script, and nothing more, which meant that the film could not be cut and remade differently at a later time. As well as complaining about Hitchcock's "goddamn jigsaw cutting", their personalities were mismatched: Hitchcock was reserved whereas Selznick was flamboyant. Eventually, Selznick generously lent Hitchcock to the larger film studios. Selznick made only a few films each year, as did fellow independent producer Samuel Goldwyn, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. In a later interview, Hitchcock said: "[Selznick] was the Big Producer. ... Producer was king. The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'."
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Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Americanness" of the characters was incidental: "Rebecca" (1940) was set in a Hollywood version of England's Cornwall and based on a novel by English novelist Daphne du Maurier. Selznick insisted on a faithful adaptation of the book, and disagreed with Hitchcock with the use of humour. The film, starring Laurence Olivier and Joan Fontaine, concerns an unnamed naïve young woman who marries a widowed aristocrat. She lives in his large English country house, and struggles with the lingering reputation of his elegant and worldly first wife Rebecca, who died under mysterious circumstances. The film won Best Picture at the 13th Academy Awards; the statuette was given to producer Selznick. Hitchcock received his first nomination for Best Director, his first of five such nominations.
Hitchcock's second American film was the thriller "Foreign Correspondent" (1940), set in Europe, based on Vincent Sheean's book "Personal History" (1935) and produced by Walter Wanger. It was nominated for Best Picture that year. Hitchcock felt uneasy living and working in Hollywood while Britain was at war; his concern resulted in a film that overtly supported the British war effort. Filmed in 1939, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. By mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism, Nazi Germany and Germans, to comply with the Motion Picture Production Code at the time.
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Early war years.
In September 1940, the Hitchcocks bought the Cornwall Ranch near Scotts Valley, California, in the Santa Cruz Mountains. Their primary residence was an English-style home in Bel Air, purchased in 1942. Hitchcock's films were diverse during this period, ranging from the romantic comedy "Mr. & Mrs. Smith" (1941) to the bleak film noir "Shadow of a Doubt" (1943).
"Suspicion" (1941) marked Hitchcock's first film as a producer and director. It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four in which Cary Grant was cast by Hitchcock, and it is one of the rare occasions that Grant plays a sinister character. Grant plays Johnnie Aysgarth, an English conman whose actions raise suspicion and anxiety in his shy young English wife, Lina McLaidlaw (Joan Fontaine). In one scene, Hitchcock placed a light inside a glass of milk, perhaps poisoned, that Grant is bringing to his wife; the light ensures that the audience's attention is on the glass. Grant's character is actually a killer, according to the book, "Before the Fact" by Francis Iles, but the studio felt that Grant's image would be tarnished by that. Hitchcock would have preferred to end with the wife's murder. Instead, the actions that she found suspicious are a reflection of his own despair and his plan to commit suicide. Fontaine won Best Actress for her performance.
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"Saboteur" (1942) is the first of two films that Hitchcock made for Universal Studios during the decade. Hitchcock wanted Gary Cooper and Barbara Stanwyck or Henry Fonda and Gene Tierney to star, but was forced by Universal to use Universal contract player Robert Cummings and Priscilla Lane, a freelancer who signed a one-picture deal with the studio, both known for their work in comedies and light dramas. The story depicts a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. Hitchcock took a three-day tour of New York City to scout for "Saboteur"s filming locations. He also directed "Have You Heard?" (1942), a photographic dramatisation for "Life" magazine of the dangers of rumours during wartime. In 1943, he wrote a mystery story for "Look", "The Murder of Monty Woolley", a sequence of captioned photographs inviting the reader to find clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce.
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Back in England, Hitchcock's mother Emma was severely ill; she died on 26 September 1942 at age 79. Hitchcock never spoke publicly about his mother, but his assistant said that he admired her. Four months later, on 4 January 1943, his brother William died of an overdose at age 52. Hitchcock was not very close to William, but his death made Hitchcock conscious about his own eating and drinking habits. He was overweight and suffering from back aches. His New Year's resolution in 1943 was to take his diet seriously with the help of a physician. In January that year, "Shadow of a Doubt" was released, which Hitchcock had fond memories of making. In the film, Charlotte "Charlie" Newton (Teresa Wright) suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial killer. Hitchcock filmed extensively on location, this time in the Northern California city of Santa Rosa.
At 20th Century Fox, Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become "Lifeboat" (1944). However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in "Collier's" in 1943. The action sequences were shot in a small boat in the studio water tank. The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". He told Truffaut in 1962:
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Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years. At the end of 1943, despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance.
Wartime non-fiction films.
Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, "Bon Voyage" (1944) and "Aventure Malgache" (1944), for the Ministry of Information. In June and July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock (a friend of his) on board. It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was broadcast as an episode of PBS "Frontline", under the title the Imperial War Museum had given it: "Memory of the Camps". The full-length version of the film, "German Concentration Camps Factual Survey", was restored in 2014 by scholars at the Imperial War Museum.
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Post-war Hollywood years: 1945–1953.
Later Selznick films.
Hitchcock worked for David Selznick again when he directed "Spellbound" (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí. The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by Miklós Rózsa makes use of the theremin, and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.
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The spy film "Notorious" followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant and Ben Hecht's screenplay, to RKO Radio Pictures as a "package" for $500,000 (equivalent to $ million in ) because of cost overruns on Selznick's "Duel in the Sun" (1946). "Notorious" stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, uranium and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted Robert Millikan of the California Institute of Technology about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.
Transatlantic Pictures.
Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first colour film. With "Rope" (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with "Lifeboat". The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the 1920s. Critical response at the time was mixed.
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"Under Capricorn" (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. Hitchcock filmed "Stage Fright" (1950) at Elstree Studios in England, where he had worked during his British International Pictures contract many years before. He paired one of Warner Bros.' most popular stars, Jane Wyman, with the expatriate German actor Marlene Dietrich and used several prominent British actors, including Michael Wilding, Richard Todd and Alastair Sim. This was Hitchcock's first proper production for Warner Bros., which had distributed "Rope" and "Under Capricorn", because Transatlantic Pictures was experiencing financial difficulties.
His thriller "Strangers on a Train" (1951) was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director. In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain. "I Confess" (1953) was set in Quebec with Montgomery Clift as a Catholic priest.
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Peak years: 1954–1964.
"Dial M for Murder" and "Rear Window".
"I Confess" was followed by three colour films starring Grace Kelly: "Dial M for Murder" (1954), "Rear Window" (1954) and "To Catch a Thief" (1955). In "Dial M for Murder", Ray Milland plays the villain who tries to murder his unfaithful wife (Kelly) for her money. She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams) save her from execution. Hitchcock experimented with 3D cinematography for "Dial M for Murder".
Hitchcock moved to Paramount Pictures and filmed "Rear Window" (1954), starring James Stewart and Grace Kelly, as well as Thelma Ritter and Raymond Burr. Stewart's character is a photographer named Jeff (based on Robert Capa) who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them (Raymond Burr) has murdered his wife. Jeff eventually manages to convince his policeman buddy (Wendell Corey) and his girlfriend (Kelly). As with "Lifeboat" and "Rope", the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".
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"Alfred Hitchcock Presents".
From 1955 to 1965, Hitchcock was the host of the television series "Alfred Hitchcock Presents". With his droll delivery, gallows humour and iconic image, the series made Hitchcock a celebrity. The title-sequence of the show pictured a minimalist caricature of his profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. The series theme tune was "Funeral March of a Marionette" by the French composer Charles Gounod (1818–1893).
His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are shown with a sign "Two chairs—no waiting!" He directed 18 episodes of the series, which aired from 1955 to 1965. It became "The Alfred Hitchcock Hour" in 1962, and NBC broadcast the final episode on 10 May 1965. In the 1980s, a new version of "Alfred Hitchcock Presents" was produced for television, making use of Hitchcock's original introductions in a colourised form.
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Hitchcock's success in television spawned a set of short-story collections in his name; these included "Alfred Hitchcock's Anthology", "Stories They Wouldn't Let Me Do on TV," and "Tales My Mother Never Told Me". In 1956, HSD Publications also licensed the director's name to create "Alfred Hitchcock's Mystery Magazine", a monthly digest specialising in crime and detective fiction. Hitchcock's television series were very profitable, and his foreign-language versions of books were bringing revenues of up to $100,000 a year ().
From "To Catch a Thief" to "Vertigo".
In 1955, Hitchcock became a United States citizen. In the same year, his third Grace Kelly film, "To Catch a Thief", was released; it is set in the French Riviera, and stars Kelly and Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success." It was Hitchcock's last film with Kelly; she married Prince Rainier of Monaco in 1956, and ended her film career afterward. Hitchcock then remade his own 1934 film "The Man Who Knew Too Much" in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", which won the Academy Award for Best Original Song and became a big hit. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Albert Hall.
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"The Wrong Man" (1956), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in "Life" magazine in 1953. This was the only film of Hitchcock to star Henry Fonda, playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife (Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.
While directing episodes for "Alfred Hitchcock Presents" during the summer of 1957, Hitchcock was admitted to hospital for hernia and gallstones, and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project. "Vertigo" (1958) again starred James Stewart, with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children."
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In "Vertigo", Stewart plays Scottie, a former police investigator suffering from acrophobia, who becomes obsessed with a woman he has been hired to shadow (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that "Vertigo" is the director's most personal and revealing film, dealing with the "Pygmalion"-like obsessions of a man who moulds a woman into the person he desires. "Vertigo" explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography.
"Vertigo" contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom, which has been copied by many filmmakers. The film premiered at the San Sebastián International Film Festival, and Hitchcock won the Silver Seashell prize. "Vertigo" is considered a classic, but it attracted mixed reviews and poor box-office receipts at the time; the critic from "Variety" opined that the film was "too slow and too long". Bosley Crowther of the "New York Times" thought it was "devilishly far-fetched", but praised the cast performances and Hitchcock's direction. The picture was also the last collaboration between Stewart and Hitchcock. In the 2002 "Sight & Sound" polls, it ranked just behind "Citizen Kane" (1941); ten years later, in the same magazine, critics chose it as the best film ever made.
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"North by Northwest" and "Psycho".
After "Vertigo", the rest of 1958 was a difficult year for Hitchcock. During pre-production of "North by Northwest" (1959), which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. While she was in hospital, Hitchcock kept himself occupied with his television work and would visit her every day. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her.
Hitchcock followed up with three more successful films, which are also recognised as among his best: "North by Northwest", "Psycho" (1960) and "The Birds" (1963). In "North by Northwest", Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is pursued across the United States by enemy agents, including Eve Kendall (Eva Marie Saint). At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 (equivalent to $ million in ), setting a non-holiday gross record for that theatre. "Time" magazine called the film "smoothly troweled and thoroughly entertaining".
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"Psycho" (1960) is arguably Hitchcock's best-known film. Based on Robert Bloch's 1959 novel "Psycho", which was inspired by the case of Ed Gein, the film was produced on a tight budget of $800,000 (equivalent to $ million in ) and shot in black-and-white on a spare set using crew members from "Alfred Hitchcock Presents". The unprecedented violence of the shower scene, the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre. The film proved popular with audiences, with lines stretching outside theatres as viewers waited for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada, and was a moderate success in Australia for a brief period.
"Psycho" was the most profitable of Hitchcock's career, and he personally earned in excess of $15 million (equivalent to $ million in ). He subsequently swapped his rights to "Psycho" and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference. Following the first film, "Psycho" became an American horror franchise: "Psycho II", "Psycho III", "Bates Motel", "" and a colour 1998 remake of the original.
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Truffaut interview.
On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organise the images; it was published as a book in 1967, which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in 2015. Truffaut sought the interview because it was clear to him that Hitchcock was not simply the mass-market entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle".
"The Birds".
The film scholar Peter William Evans wrote that "The Birds" (1963) and "Marnie" (1964) are regarded as "undisputed masterpieces". Hitchcock had intended to film "Marnie" first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it. When Kelly asked Hitchcock to postpone "Marnie" until 1963 or 1964, he recruited Evan Hunter, author of "The Blackboard Jungle" (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his "My Favorites in Suspense" (1959). He hired Tippi Hedren to play the lead role. It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television advert for Sego, a diet drink: "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'.
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In "The Birds", Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother. Hedren visits him in Bodega Bay (where "The Birds" was filmed) carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered. Hitchcock made the film with equipment from the Revue Studio, which made "Alfred Hitchcock Presents". He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance.
An HBO/BBC television film, "The Girl" (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed and had a ramp built from his private office directly into her trailer. Diane Baker, her co-star in "Marnie", said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was." While filming the attack scene in the atticwhich took a week to filmshe was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders.
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"Marnie".
In June 1962, Grace Kelly announced that she had decided against appearing in "Marnie" (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with Hitchcock in October 1961, and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art." A 1964 "New York Times" review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops".
In the film, Marnie Edgar (Hedren) steals $10,000 from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier, she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstormthe mother believed the client had tried to molest MarnieMarnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark.
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Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face. Evan Hunter, the screenwriter of "The Birds" who was writing "Marnie" too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!" When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen.
Later years: 1966–1980.
Final films.
Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, "Torn Curtain" (1966) and "Topaz" (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War-related themes. "Torn Curtain", with Paul Newman and Julie Andrews, precipitated the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, "Torn Curtain" was a box office disappointment, and "Topaz" was disliked by both critics and the studio.
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Hitchcock returned to Britain to make his penultimate film, "Frenzy" (1972), based on the novel "Goodbye Piccadilly, Farewell Leicester Square" (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites, as in "Strangers on a Train".
In "Frenzy", Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet, Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".
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"Family Plot" (1976) was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While "Family Plot" was based on the Victor Canning novel "The Rainbird Pattern" (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title "Deception", with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name "Deceit", then finally, "Family Plot".
Knighthood and death.
Toward the end of his life, Hitchcock was working on the script for a spy thriller, "The Short Night", collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book "The Last Days of Alfred Hitchcock" (1999).
Having refused a CBE in 1962, Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours. He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh and others attended a luncheon afterwards.
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His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award. He died of kidney failure the following month, on 29 April, in his Bel Air home. Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest, but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession. Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980.
Filmmaking.
Style and themes.
The "Hitchcockian" style includes the use of editing and camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the whole implied in every detail and every detail related to the whole."
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Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D. W. Griffith and Alice Guy-Blaché. His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; he referred to this emphasis on visual storytelling as "pure cinema". In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques. Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised". Scholar Robin Wood writes that the director's first two films, "The Pleasure Garden" and "The Mountain Eagle", were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's "The Lodger" was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview".
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Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I "play" with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved." During filming of "North by Northwest", Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen." In a 1963 interview with Italian journalist Oriana Fallaci, Hitchcock was asked how in spite of appearing to be a pleasant, innocuous man, he seemed to enjoy making films involving suspense and terrifying crime. He responded:
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Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in "Rear Window", "Marnie" and "Psycho". He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes was the struggle of a personality torn between "order and chaos"; known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side.
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According to Robin Wood, Hitchcock retained a feeling of ambivalence towards homosexuality, despite working with gay actors throughout his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy. During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references, and pushing the boundaries of the censors. Moreover, "Shadow of a Doubt" has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers". The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authority figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story.
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Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train ("Strangers on a Train"), walking dogs out of a pet shop ("The Birds"), fixing a neighbour's clock ("Rear Window"), as a shadow ("Family Plot"), sitting at a table in a photograph ("Dial M for Murder"), and riding a bus ("North by Northwest"," To Catch a Thief").
Representation of women.
Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in "The Guardian" in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end." In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist. "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996: "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated."
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Hitchcock's films often feature characters struggling in their relationships with their mothers, such as Norman Bates in "Psycho". In "North by Northwest", Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In "The Birds", the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in "Frenzy" has a loathing of women but idolises his mother. The villain Bruno in "Strangers on a Train" hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in "Notorious" has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman).
Relationship with actors.
Hitchcock became known for having remarked that "actors should be treated like cattle". During the filming of "Mr. & Mrs. Smith" (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him. In an episode of "The Dick Cavett Show", originally broadcast on 8 June 1972, Dick Cavett stated as fact that Hitchcock had once called actors cattle. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. "I said that I would never say such an unfeeling, rude thing about actors at all. What I probably said, was that all actors should be treated like cattle...In a nice way of course." He then described Carole Lombard's joke, with a smile.
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Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said, 'That's not acting. That's writing.'"
Recalling their experiences on "Lifeboat" for Charles Chandler, author of "It's Only a Movie: Alfred Hitchcock A Personal Biography," Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming "Lifeboat".
Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times, and Ingrid Bergman and Grace Kelly three. James Mason said that Hitchcock regarded actors as "animated props". For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights."
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Writing, storyboards and production.
Hitchcock planned his scripts in detail with his writers. In "Writing with Hitchcock" (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Hitchcock told Roger Ebert in 1969:
Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider.
This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine "Cahiers du Cinéma", in his book "Hitchcock at Work". After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of "North by Northwest" was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail.
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Even when storyboards were made, scenes that were shot differed from them significantly. Krohn's analysis of the production of Hitchcock classics like "Notorious" reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of "The Man Who Knew Too Much," whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including "Strangers on a Train" and "Topaz". While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines used during many other film productions.
Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how they chose (often under the producer's aegis). Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work.
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According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—who would produce posters that accurately represented his films.
Legacy.
Awards and honours.
Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for motion pictures. In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius". In 2002, "MovieMaker" named him the most influential director of all time, and a 2007 "The Daily Telegraph" critics' poll ranked him Britain's greatest director.
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In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius". In 2002, "MovieMaker" named him the most influential director of all time, and a 2007 "The Daily Telegraph" critics' poll ranked him Britain's greatest director. David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else." In 1992, the "Sight & Sound" Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time.
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His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else." In 1992, the "Sight & Sound" Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time. 1 in its "50 Greatest Directors" list. Hitchcock was ranked at No. 2 on "Empire"s "Top 40 Greatest Directors of All-Time" list in 2005. In 2007, "Total Film" ranked Hitchcock at No. 1 on its "100 Greatest Film Directors Ever" list.
He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award in 1971, and, in 1979, an AFI Life Achievement Award. He was nominated five times for an Academy Award for Best Director. "Rebecca", nominated for eleven Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, "Foreign Correspondent", was also nominated that year. By 2021, nine of his films had been selected for preservation by the US National Film Registry: "Rebecca" (1940; inducted 2018), "Shadow of a Doubt" (1943; inducted 1991), "Notorious" (1946; inducted 2006), "Strangers on a Train" (1951; inducted 2021), "Rear Window" (1954; inducted 1997), "Vertigo" (1958; inducted 1989), "North by Northwest" (1959; inducted 1995), "Psycho" (1960; inducted 1992) and "The Birds" (1963; inducted 2016).
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In 2001, a series of 17 mosaics of Hitchcock's life and work, which are located in Leytonstone tube station in the London Underground, was commissioned by the London Borough of Waltham Forest. In 2012, Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, "The New Elizabethans", as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character". In June 2013 nine restored versions of Hitchcock's early silent films, including "The Pleasure Garden" (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute.
Archives.
The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16mm film shot on the set of "Blackmail" (1929) and "Frenzy" (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive has preserved many of his home movies. In 1984, Pat Hitchcock donated her father's papers to the academy's Margaret Herrick Library. The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of "The Paradine Case", "Rebecca", "Spellbound", "North by Northwest" and "Family Plot."
Filmography.
Films.
Silent films
Sound films
Notes and sources.
Works cited.
Biographies "(chronological)"
Miscellaneous
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Anaconda
Anacondas or water boas are a group of large boas of the genus Eunectes. They are a semiaquatic group of snakes found in tropical South America. Three to five extant and one extinct species are currently recognized, including one of the largest snakes in the world, "E. murinus", the green anaconda.
Description.
Although the name applies to a group of snakes, it is often used to refer only to one species, in particular, the common or green anaconda ("Eunectes murinus"), which is the largest snake in the world by weight, and the second longest after the reticulated python.
Origin.
The recent fossil record of "Eunectes" is relatively sparse compared to other vertebrates and other genera of snakes. The fossil record of this group is effected by an artifact called the Pull of the Recent. Fossils of recent ancestors are not known, so the living species 'pull' the historical range of the genus to the present.
Etymology.
The name "Eunectes" is derived from .
The South American names "anacauchoa" and "anacaona" were suggested in an account by Peter Martyr d'Anghiera. The idea of a South American origin was questioned by Henry Walter Bates who, in his travels in South America, failed to find any similar name in use. The word anaconda is derived from the name of a snake from Ceylon (Sri Lanka) that John Ray described in Latin in his ' (1693) as '.
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Ray used a catalogue of snakes from the Leyden museum supplied by Dr. Tancred Robinson. The description of its habit was based on Andreas Cleyer, who in 1684 described a gigantic snake that crushed large animals by coiling around their bodies and crushing their bones. Henry Yule in his 1886 work "Hobson-Jobson", notes that the word became more popular due to a piece of fiction published in 1768 in the Scots Magazine by a certain R. Edwin. Edwin described a 'tiger' being crushed to death by an anaconda, when there were never any tigers in Sri Lanka.
Yule and Frank Wall noted that the snake was a python and suggested a Tamil origin ' meaning elephant killer. A Sinhalese origin was also suggested by Donald Ferguson who pointed out that the word ' (' lightning/large and ' stem/trunk) was used in Sri Lanka for the small whip snake ("Ahaetulla pulverulenta") and somehow got misapplied to the python before myths were created.
The name commonly used for the anaconda in Brazil is "sucuri", "sucuriju" or "sucuriuba".
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Distribution and habitat.
Found in tropical South America from Ecuador, Brazil, Colombia and Venezuela south to Argentina.
Feeding.
All five species are aquatic snakes that prey on other aquatic animals, including fish, river fowl, and caiman. Videos exist of anacondas preying on domestic animals such as goats and sometimes even young jaguars that venture too close to the water.
Relationship with humans.
While encounters between people and anacondas may be dangerous, they do not regularly hunt humans. Nevertheless, threat from anacondas is a familiar trope in comics, movies, and adventure stories (often published in pulp magazines or adventure magazines) set in the Amazon jungle. Local communities and some European explorers have given accounts of giant anacondas, legendary snakes of much greater proportion than any confirmed specimen.
Although charismatic, there is little known on the biology of wild anacondas. Most of our knowledge comes from the work of Dr. Jesús A. Rivas and his team working in the Venezuelan Llanos.
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Species.
Rivas "et al". revised the taxonomy of "Eunectes", describing a new species of green anaconda ("Eunectes akayima") and merging "E. deschauenseei" and "E. beniensis" with "E. notaeus", which resulted in the recognition of only three species of anaconda. The result of their phylogenetic analysis is represented below:
In a response paper, Dubois "et al". questioned the results of the mtDNA analysis above and the validity of "Eunectes akayima". The name of the new species was considered a "nomen nudum".
Mating system.
The mating seasons in "Eunectes" varies both between species and within species depending on locality, although the trend appears to be the dry season. The green anaconda "(E. murinus)" is the most well-studied species of "Eunectes" in terms of their mating system, followed by the yellow anaconda "(E. notaeus)"; unfortunately "E. deschauenseei" and "E. beniensis" are much less common, making the specific details of their mating systems less well understood.
Sexual dimorphism.
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Breeding balls.
During the mating season female anacondas release pheromones to attract males for breeding, which can result in polyandrous breeding balls; these breeding balls have been observed in "E. murinus", "E. notaeus", and "E. deschauenseei", and likely also occur in "E. beniensis". In the green anaconda "(E. murinus)", up to 13 males have been observed in a breeding ball, which have been recorded to last two weeks on average. In anaconda breeding balls, several males coil around one female and attempt to position themselves as close to her cloaca as possible where they use their pelvic spurs to "tickle" and encourage her to allow penetration. Since there are often many males present and only one male can mate with the female at a time, the success of a male often depends on his persistence and endurance, because physical combat is not a part of the "Eunectes" mating ritual, apart from firmly pushing against other males in an attempt to secure the best position on the female.
Sexual cannibalism.
Cannibalism is quite easy in anacondas since females are so much larger than males, but sexual cannibalism has only been confirmed in "E. murinus". Females gain the direct benefit of a post-copulatory high-protein meal when they consume their mates, along with the indirect benefit of additional resources to use for the formation of offspring; cannibalism in general (outside of the breeding season) has been confirmed in all but "E. deschauenseei", although it is likely that it occurs in all "Eunectes" species.
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Asexual reproduction.
Although sexual reproduction is by far the most common in "Eunectes", "E. murinus" has been observed to undergo facultative parthenogenesis. In both cases, the females had lived in isolation from other anacondas for over eight years, and DNA analysis showed that the few fully formed offspring were genetically identical to the mothers; although this is not commonly observed, it is likely possible in all species of "Eunectes" and several other species of Boidae.
Indigenous mythology.
According to the founding myth of the Huni Kuin, a man named Yube fell in love with an anaconda woman and was turned into an anaconda as well. He began to live with her in the deep world of waters. In this world, Yube discovered a hallucinogenic drink with healing powers and access to knowledge. One day, without telling his anaconda wife, Yube decided to return to the land of men and resume his old human form. The myth also explains the origin of cipó or ayahuasca — a hallucinogenic drink taken ritualistically by the Huni Kuin.
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Afghanistan (1911 Encyclopedia)
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Altaic languages
The Altaic () languages are a group of languages comprising the Turkic, Mongolic and Tungusic language families, with some linguists including the Koreanic and Japonic families. These languages share agglutinative morphology, head-final word order and some vocabulary. The once-popular theory attributing these similarities to a common ancestry has long been rejected by most comparative linguists in favor of language contact, although it continues to be supported by a small but stable scholarly minority. Like the Uralic language family, which is named after the Ural Mountains, the group is named after the Altai mountain range in the center of Asia. The core grouping of Turkic, Mongolic and Tungusic is sometimes called "Micro-Altaic", with the expanded group including Koreanic and Japonic labelled as "Macro-Altaic" or "Transeurasian".
The Altaic family was first proposed in the 18th century. It was widely accepted until the 1960s and is still listed in many encyclopedias and handbooks, and references to Altaic as a language family continue to percolate to modern sources through these older sources. Since the 1950s, most comparative linguists have rejected the proposal, after supposed cognates were found not to be valid, hypothesized sound shifts were not found, and Turkic and Mongolic languages were found to have been converging rather than diverging over the centuries. The relationship between the Altaic languages is now generally accepted to be the result of a sprachbund rather than common ancestry, with the languages showing influence from prolonged contact.
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