well as questions of Victorian convention, female agency, and male anxiety. And they fruitfully engage issues related to patriarchy, colonialism, national, transnational, and global identities. The capacious collection, with its brilliant insights and intellectual surprises, is equally compelling in its range and cogency for James
readers and film theorists, for Hitchcock fans and James scholars.

The Men Who Knew Too Much

Henry James and Alfred Hitchcock

Edited by Susan M. Griffin and Alan Nadel

Table of Contents

Reading James with Hitchcock, Reading Hitchcock with James, Susan Griffin and Alan NadelNational Bodies, Susan GriffinSecrets, Lies, and "Virtuous Attachments": The Ambassadors and The 39 Steps, Brenda Austin-SmithHenry James and Alfred Hitchcock after the American Century: Circulation and Non-Return in The American Scene and Strangers on a Train, Brian T. EdwardsColonial Discourse and the Unheard Other inWashington Square and The Man Who Knew Too Much, Alan NadelBump: Concussive Knowledge in James and Hitchcock, Mary Ann O'FarrellJames's Birdcage/Hitchcock's Birds, Patrick O'DonnellSounds of Silence in The Wings of the Dove and Blackmail, Donatella IzzoThe Perfect Enigma, Judith RoofHands, Objects and Love in James and
Hitchcock: Reading the Touch in The Golden Bowl and Notorious, Jonathan FreedmanThe Touch of the Real: Circumscribing Vertigo, Eric SavoySpecters of Respectability: Victorian Horrors in The Turn of the Screw and Psycho, Aviva BriefelCaged Heat: Feminist Rebellion in Henry James's In the Cage and Alfred Hitchcock's Rear Window, John Carlos RoweShadows of Modernity: What Maisie Knew and Shadow of a Doubt, Thomas B. ByersAwkward Ages: James and Hitchcock In Between, Mark GobleWorks CitedContributorsIndex

The Men Who Knew Too Much

Henry James and Alfred Hitchcock

Edited by