SEE
FILMS
SHOP FOR
FILMS
LEARN ABOUT
FILMS
RESEARCH
FILMS
DOWNLOAD
FILMS
about BFI
what's on
film & tv info
national archive
publications
join the BFI
BFI Filmstore
>
Books & Magazines
>
BFI Classics
>
Blackmail: BFI Film Classics
Information
Home
Latest BFI Products
Best Sellers
Offers & Promotions
BFI Member Discounts
Visit the Filmstore
Filmstore Events
Certification
Products
Blu-ray
Artists' Film & Video
British & Irish Film & TV
Italy
Books & Magazines
Africa
Animation
Artists' Film & Video
BFI Classics
BFI Events & Film Seasons
British & Irish Film & TV
China, Hong-Kong, Taiwan
Documentary
Early & Silent Cinema
Eastern Europe & Balkans
Film Posters
Film Theory & Analysis
Filmmakers
France
Gender Studies
Genre
Germany & Austria
India & South Asia
Industry
Latin America
Magazines & Journals
Middle East
Projecting and Archiving
Reference
Scandinavia
Short Film
Sound & Music
South Korea
Stationery
Television & Media
Toys, games & novelty items
US & Canadian Cinema
World Cinema
DVDs non BFI
Artists' Film & Video
DVDs
Africa
Animation
Artists' Film & Video
Belgium & Netherlands
British & Irish Film & TV
British Transport Films
China, Hong-Kong, Taiwan
Documentary
Early & Silent Cinema
France
Genre
Germany & Austria
India & South Asia
Italy
Japan
Middle East
Russia
Scandinavia
South East Asia
Spain
US & Canadian Cinema
Education Resources
Student Resources
Teaching Resources
Gifts
Clothing and accessories
Film Posters
Homewares
Stationery
Toys, games & novelty items
Sale & Promotions
British & Irish Film & TV
31 May 1993
96 pages
Published/distributed by BFI Publishing
ISBN/EAN: 9780851703565
Price: £9.99
<back
Blackmail: BFI Film Classics
Ryall, Tom
Alfred Hitchcock's Blackmail is a landmark in British cinema. Released in June 1929, it was hailed as 'the first British all-talkie film'. Characteristically, Hitchcock makes flamboyant use of the new technical and aesthetic opportunities which sound offered. But the film was also released in a silent version, and to this day some critics consider this version a superior work.
In his lucid and knowledgeable discussion, Tom Ryall covers both versions of the film. It is, he argues, both a considerable work of art in itself, and also one of the first to display those touches we now think of as typically Hitchcockian: a blonde heroine in jeopardy, a surprise killing, some brilliantly manipulated suspense, and a last-reel chase around a familiar public landmark (in this case the British Museum). There's also a cameo appearance by the Director himself, as a harassed traveller on the London Underground.
Contact us
|
Site map
|
Terms & Conditions
|
Privacy
|
Security
|
Postage, Delivery & VAT
website by Green Jersey