hpprc/enwiki-paragraphs · Datasets at Hugging Face

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Alfred Hitchcock	808	Filmmaking	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 were 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.
Alfred Hitchcock	808	Filmmaking	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 authoritarian 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. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho.
Alfred Hitchcock	808	Filmmaking	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).
Alfred Hitchcock	808	Filmmaking	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."
Alfred Hitchcock	808	Filmmaking	The victims in The Lodger are all blondes. In The 39 Steps, Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound, Notorious, and Under Capricorn), is dark blonde. In Rear Window, Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief, Francie (also Kelly) offers to help a man she believes is a burglar. In Vertigo and North by Northwest respectively, Kim Novak and Eva Marie Saint play the blonde heroines. In Psycho, Janet Leigh's character steals $40,000 and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds. In Marnie, the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes.
Alfred Hitchcock	808	Filmmaking	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).
Alfred Hitchcock	808	Filmmaking	I told her that my idea of a good actor or good actress is someone who can do nothing very well. ... I said, "That's one of the things you've got to learn to have ... authority." Out of authority comes control and out of control you get the range ... Whether you do little acting, a lot of acting in a given scene. You know exactly where you're going. And these were the first things that she had to know. Emotion comes later and the control of the voice comes later. But, within herself, she had to learn authority first and foremost because out of authority comes timing.
Alfred Hitchcock	808	Filmmaking	— Alfred Hitchcock (1967)
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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.'"
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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."
Alfred Hitchcock	808	Filmmaking	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:
Alfred Hitchcock	808	Filmmaking	Once the screenplay is finished, I'd just as soon not make the film at all. All the fun is over. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score. It's melancholy to shoot a picture. When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception.
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Filmmaking	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.
Alfred Hitchcock	808	Legacy	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. 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. In 2002, Hitchcock was ranked second in the critics' top ten poll and fifth in the directors' top ten poll in the list of "The Greatest Directors of All Time" compiled by Sight & Sound. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 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.
Alfred Hitchcock	808	Legacy	He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award 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).
Alfred Hitchcock	808	Legacy	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.
Alfred Hitchcock	808	Legacy	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. The Alfred Hitchcock Papers are housed at 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.
Alfred Hitchcock	808	Filmography	Silent films
Alfred Hitchcock	808	Filmography	Sound films
Alfred Hitchcock	808	Notes and sources	Biographies (chronological)
Alfred Hitchcock	808	Notes and sources	Miscellaneous
Alfred Hitchcock	808	External links
Anaconda	809		Anacondas or water boas are a group of large snakes of the genus Eunectes. They are found in tropical South America. Four species are currently recognized.
Anaconda	809	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.
Anaconda	809	Etymology	The South American names anacauchoa and anacaona were suggested in an account by Peter Martyr d'Anghiera, but 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 Synopsis Methodica Animalium (1693) as serpens indicus bubalinus anacandaia zeylonibus, ides bubalorum aliorumque jumentorum membra conterens. Ray used a catalogue of snakes from the Leyden museum supplied by Dr. Tancred Robinson, but 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 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 that described a 'tiger' being crushed to death by an anaconda, when there actually never were any tigers in Sri Lanka. Yule and Frank Wall noted that the snake was in fact a python and suggested a Tamil origin anai-kondra meaning elephant killer. A Sinhalese origin was also suggested by Donald Ferguson who pointed out that the word Henakandaya (hena lightning/large and kanda 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.
Anaconda	809	Etymology	The name commonly used for the anaconda in Brazil is sucuri, sucuriju or sucuriuba.
Anaconda	809	Species and other uses of the term "anaconda"	The term "anaconda" has been used to refer to:
Altaic languages	824		Altaic (/ælˈteɪ.ɪk/) is a controversial proposed language family that would include the Turkic, Mongolic and Tungusic language families and possibly also the Japonic and Koreanic languages. The hypothetical language family has long been rejected by most comparative linguists, although it continues to be supported by a small but stable scholarly minority. Speakers of the constituent languages are currently scattered over most of Asia north of 35° N and in some eastern parts of Europe, extending in longitude from the Balkan Peninsula to Japan. The group is named after the Altai mountain range in the center of Asia.
Altaic languages	824		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 be 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.
Altaic languages	824		The continued use of the term "Altaic" to refer to the various iterations of an Altaic theory, the "Altaic sprachbund" and infrequently as a general term for the region has resulted in confusion around the status of the Altaic hypothesis, with the end result being many Altaicists adopting the name "Transeurasian" for modifications of the family proposal to avoid confusion. This confusion is compounded by literature which refers to Altaic as an accepted hypothesis, which historically was the case.
Altaic languages	824		Altaic has maintained a limited degree of scholarly support, in contrast to some other early macrofamily proposals. Continued research on Altaic is still being undertaken by a core group of academic linguists, but their research has not found wider support. In particular it has support from the Institute of Linguistics of the Russian Academy of Sciences and remains influential as a substratum of Turanism, where a hypothetical common linguistic ancestor has been used in part as a basis for a multiethnic nationalist movement.
Altaic languages	824	Earliest attestations	The earliest attested expressions in Proto-Turkic are recorded in various Chinese sources. Anna Dybo identifies in Shizi (330 BCE) and the Book of Han (111 CE) several dozen Proto-Turkic exotisms in Chinese Han transcriptions. Lanhai Wei and Hui Li reconstruct the name of the Xiōngnú ruling house as PT *Alayundluğ /alajuntˈluγ/ 'piebald horse clan.'
Altaic languages	824	Earliest attestations	The earliest known texts in a Turkic language are the Orkhon inscriptions, 720–735 AD. They were deciphered in 1893 by the Danish linguist Vilhelm Thomsen in a scholarly race with his rival, the German–Russian linguist Wilhelm Radloff. However, Radloff was the first to publish the inscriptions.
Altaic languages	824	Earliest attestations	The first Tungusic language to be attested is Jurchen, the language of the ancestors of the Manchus. A writing system for it was devised in 1119 AD and an inscription using this system is known from 1185 (see List of Jurchen inscriptions).
Altaic languages	824	Earliest attestations	The earliest Mongolic language of which we have written evidence is known as Middle Mongol. It is first attested by an inscription dated to 1224 or 1225 AD, the Stele of Yisüngge, and by the Secret History of the Mongols, written in 1228 (see Mongolic languages). The earliest Para-Mongolic text is the Memorial for Yelü Yanning, written in the Khitan large script and dated to 986 AD. However, the Inscription of Hüis Tolgoi, discovered in 1975 and analysed as being in an early form of Mongolic, has been dated to 604–620 AD. The Bugut inscription dates back to 584 AD.
Altaic languages	824	Earliest attestations	Japanese is first attested in the form of names contained in a few short inscriptions in Classical Chinese from the 5th century AD, such as found on the Inariyama Sword. The first substantial text in Japanese, however, is the Kojiki, which dates from 712 AD. It is followed by the Nihon shoki, completed in 720, and then by the Man'yōshū, which dates from c. 771–785, but includes material that is from about 400 years earlier.
Altaic languages	824	Earliest attestations	The most important text for the study of early Korean is the Hyangga, a collection of 25 poems, of which some go back to the Three Kingdoms period (57 BC–668 AD), but are preserved in an orthography that only goes back to the 9th century AD. Korean is copiously attested from the mid-15th century on in the phonetically precise Hangul system of writing.
Altaic languages	824	History of the Altaic family concept	The earliest known reference to a unified language group of Turkic, Mongolic and Tungusic languages is from the 1692 work of Nicolaes Witsen which may be based on a 1661 work of Abu al-Ghazi Bahadur Genealogy of the Turkmens.
Altaic languages	824	History of the Altaic family concept	A proposed grouping of the Turkic, Mongolic, and Tungusic languages was published in 1730 by Philip Johan von Strahlenberg, a Swedish officer who traveled in the eastern Russian Empire while a prisoner of war after the Great Northern War. However, he may not have intended to imply a closer relationship among those languages. Later proposals to include the Korean and Japanese languages into a "Macro-Altaic" family have always been controversial. The original proposal was sometimes called "Micro-Altaic" by retronymy. Most proponents of Altaic continue to support the inclusion of Korean, but fewer do for Japanese. Some proposals also included Ainuic but this is not widely accepted even among Altaicists themselves. A common ancestral Proto-Altaic language for the "Macro" family has been tentatively reconstructed by Sergei Starostin and others.
Altaic languages	824	History of the Altaic family concept	Micro-Altaic includes about 66 living languages, to which Macro-Altaic would add Korean, Jeju, Japanese, and the Ryukyuan languages, for a total of about 74 (depending on what is considered a language and what is considered a dialect). These numbers do not include earlier states of languages, such as Middle Mongol, Old Korean, or Old Japanese.
Altaic languages	824	History of the Altaic family concept	In 1844, the Finnish philologist Matthias Castrén proposed a broader grouping which later came to be called the Ural–Altaic family, which included Turkic, Mongolian, and Manchu-Tungus (=Tungusic) as an "Altaic" branch, and also the Finno-Ugric and Samoyedic languages as the "Uralic" branch (though Castrén himself used the terms "Tataric" and "Chudic"). The name "Altaic" referred to the Altai Mountains in East-Central Asia, which are approximately the center of the geographic range of the three main families. The name "Uralic" referred to the Ural Mountains.
Altaic languages	824	History of the Altaic family concept	While the Ural-Altaic family hypothesis can still be found in some encyclopedias, atlases, and similar general references, since the 1960s it has been heavily criticized. Even linguists who accept the basic Altaic family, such as Sergei Starostin, completely discard the inclusion of the "Uralic" branch.
Altaic languages	824	History of the Altaic family concept	The term continues to be used for the central Eurasian typological, grammatical and lexical convergence zone. Indeed, "Ural-Altaic" may be preferable to "Altaic" in this sense. For example, Juha Janhunen states that "speaking of 'Altaic' instead of 'Ural-Altaic' is a misconception, for there are no areal or typological features that are specific to 'Altaic' without Uralic."
Altaic languages	824	History of the Altaic family concept	In 1857, the Austrian scholar Anton Boller suggested adding Japanese to the Ural–Altaic family.
Altaic languages	824	History of the Altaic family concept	In the 1920s, G.J. Ramstedt and E.D. Polivanov advocated the inclusion of Korean. Decades later, in his 1952 book, Ramstedt rejected the Ural–Altaic hypothesis but again included Korean in Altaic, an inclusion followed by most leading Altaicists (supporters of the theory) to date. His book contained the first comprehensive attempt to identify regular correspondences among the sound systems within the Altaic language families.
Altaic languages	824	History of the Altaic family concept	In 1960, Nicholas Poppe published what was in effect a heavily revised version of Ramstedt's volume on phonology that has since set the standard in Altaic studies. Poppe considered the issue of the relationship of Korean to Turkic-Mongolic-Tungusic not settled. In his view, there were three possibilities: (1) Korean did not belong with the other three genealogically, but had been influenced by an Altaic substratum; (2) Korean was related to the other three at the same level they were related to each other; (3) Korean had split off from the other three before they underwent a series of characteristic changes.
Altaic languages	824	History of the Altaic family concept	Roy Andrew Miller's 1971 book Japanese and the Other Altaic Languages convinced most Altaicists that Japanese also belonged to Altaic. Since then, the "Macro-Altaic" has been generally assumed to include Turkic, Mongolic, Tungusic, Korean, and Japanese.
Altaic languages	824	History of the Altaic family concept	In 1990, Unger advocated a family consisting of Tungusic, Korean, and Japonic languages, but not Turkic or Mongolic.
Altaic languages	824	History of the Altaic family concept	However, many linguists dispute the alleged affinities of Korean and Japanese to the other three groups. Some authors instead tried to connect Japanese to the Austronesian languages.
Altaic languages	824	History of the Altaic family concept	In 2017, Martine Robbeets proposed that Japanese (and possibly Korean) originated as a hybrid language. She proposed that the ancestral home of the Turkic, Mongolic, and Tungusic languages was somewhere in northwestern Manchuria. A group of those proto-Altaic ("Transeurasian") speakers would have migrated south into the modern Liaoning province, where they would have been mostly assimilated by an agricultural community with an Austronesian-like language. The fusion of the two languages would have resulted in proto-Japanese and proto-Korean.
Altaic languages	824	History of the Altaic family concept	In a typological study that does not directly evaluate the validity of the Altaic hypothesis, Yurayong and Szeto (2020) discuss for Koreanic and Japonic the stages of convergence to the Altaic typological model and subsequent divergence from that model, which resulted in the present typological similarity between Koreanic and Japonic. They state that both are "still so different from the Core Altaic languages that we can even speak of an independent Japanese-Korean type of grammar. Given also that there is neither a strong proof of common Proto-Altaic lexical items nor solid regular sound correspondences but, rather, only lexical and structural borrowings between languages of the Altaic typology, our results indirectly speak in favour of a “Paleo-Asiatic” origin of the Japonic and Koreanic languages."
Altaic languages	824	History of the Altaic family concept	In 1962, John C. Street proposed an alternative classification, with Turkic-Mongolic-Tungusic in one grouping and Korean-Japanese-Ainu in another, joined in what he designated as the "North Asiatic" family. The inclusion of Ainu was adopted also by James Patrie in 1982.
Altaic languages	824	History of the Altaic family concept	The Turkic-Mongolic-Tungusic and Korean-Japanese-Ainu groupings were also posited in 2000–2002 by Joseph Greenberg. However, he treated them as independent members of a larger family, which he termed Eurasiatic.
Altaic languages	824	History of the Altaic family concept	The inclusion of Ainu is not widely accepted by Altaicists. In fact, no convincing genealogical relationship between Ainu and any other language family has been demonstrated, and it is generally regarded as a language isolate.
Altaic languages	824	History of the Altaic family concept
Altaic languages	824	History of the Altaic family concept	Starting in the late 1950s, some linguists became increasingly critical of even the minimal Altaic family hypothesis, disputing the alleged evidence of genetic connection between Turkic, Mongolic and Tungusic languages.
Altaic languages	824	History of the Altaic family concept	Among the earlier critics were Gerard Clauson (1956), Gerhard Doerfer (1963), and Alexander Shcherbak. They claimed that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. In 1988, Doerfer again rejected all the genetic claims over these major groups.
Altaic languages	824	History of the Altaic family concept	A major continuing supporter of the Altaic hypothesis has been Sergei Starostin, who published a comparative lexical analysis of the Altaic languages in 1991. He concluded that the analysis supported the Altaic grouping, although it was "older than most other language families in Eurasia, such as Indo-European or Finno-Ugric, and this is the reason why the modern Altaic languages preserve few common elements".
Altaic languages	824	History of the Altaic family concept	In 1991 and again in 1996, Roy Miller defended the Altaic hypothesis and claimed that the criticisms of Clauson and Doerfer apply exclusively to the lexical correspondences, whereas the most pressing evidence for the theory is the similarities in verbal morphology.
Altaic languages	824	History of the Altaic family concept	In 2003, Claus Schönig published a critical overview of the history of the Altaic hypothesis up to that time, siding with the earlier criticisms of Clauson, Doerfer, and Shcherbak.
Altaic languages	824	History of the Altaic family concept	In 2003, Starostin, Anna Dybo and Oleg Mudrak published the Etymological Dictionary of the Altaic Languages, which expanded the 1991 lexical lists and added other phonological and grammatical arguments.
Altaic languages	824	History of the Altaic family concept	Starostin's book was criticized by Stefan Georg in 2004 and 2005, and by Alexander Vovin in 2005.
Altaic languages	824	History of the Altaic family concept	Other defenses of the theory, in response to the criticisms of Georg and Vovin, were published by Starostin in 2005, Blažek in 2006, Robbeets in 2007, and Dybo and G. Starostin in 2008.
Altaic languages	824	History of the Altaic family concept	In 2010, Lars Johanson echoed Miller's 1996 rebuttal to the critics, and called for a muting of the polemic.
Altaic languages	824	History of the Altaic family concept	The list below comprises linguists who have worked specifically on the Altaic problem since the publication of the first volume of Ramstedt's Einführung in 1952. The dates given are those of works concerning Altaic. For supporters of the theory, the version of Altaic they favor is given at the end of the entry, if other than the prevailing one of Turkic–Mongolic–Tungusic–Korean–Japanese.
Altaic languages	824	History of the Altaic family concept	In Robbeets and Johanson (2010), there was a proposal to replace the name "Altaic" with the name "Transeurasian". While "Altaic" has sometimes included Japonic, Koreanic, and other languages or families, but only on the consideration of particular authors, "Transeurasian" was specifically intended to always include Turkic, Mongolic, Tungusic, Japonic, and Koreanic. Robbeets and Johanson gave as their reasoning for the new term: 1) to avoid confusion between the different uses of Altaic as to which group of languages is included, 2) to reduce the counterproductive polarization between "Pro-Altaists" and "Anti-Altaists"; 3) to broaden the applicability of the term because the suffix -ic implies affinity while -an leaves room for an areal hypothesis; and 4) to eliminate the reference to the Altai mountains as a potential homeland.
Altaic languages	824	History of the Altaic family concept	In Robbeets and Savelyev, ed. (2020) there was a concerted effort to distinguish "Altaic" as a subgroup of "Transeurasian" consisting only of Turkic, Mongolic, and Tungusic, while retaining "Transeurasian" as "Altaic" plus Japonic and Koreanic.
Altaic languages	824	Arguments	The original arguments for grouping the "micro-Altaic" languages within a Uralo-Altaic family were based on such shared features as vowel harmony and agglutination.
Altaic languages	824	Arguments	According to Roy Miller, the most pressing evidence for the theory is the similarities in verbal morphology.
Altaic languages	824	Arguments	The Etymological Dictionary by Starostin and others (2003) proposes a set of sound change laws that would explain the evolution from Proto-Altaic to the descendant languages. For example, although most of today's Altaic languages have vowel harmony, Proto-Altaic as reconstructed by them lacked it; instead, various vowel assimilations between the first and second syllables of words occurred in Turkic, Mongolic, Tungusic, Korean, and Japonic. They also included a number of grammatical correspondences between the languages.
Altaic languages	824	Arguments	Starostin claimed in 1991 that the members of the proposed Altaic group shared about 15–20% of apparent cognates within a 110-word Swadesh-Yakhontov list; in particular, Turkic–Mongolic 20%, Turkic–Tungusic 18%, Turkic–Korean 17%, Mongolic–Tungusic 22%, Mongolic–Korean 16%, and Tungusic–Korean 21%. The 2003 Etymological Dictionary includes a list of 2,800 proposed cognate sets, as well as a few important changes to the reconstruction of Proto-Altaic. The authors tried hard to distinguish loans between Turkic and Mongolic and between Mongolic and Tungusic from cognates; and suggest words that occur in Turkic and Tungusic but not in Mongolic. All other combinations between the five branches also occur in the book. It lists 144 items of shared basic vocabulary, including words for such items as 'eye', 'ear', 'neck', 'bone', 'blood', 'water', 'stone', 'sun', and 'two'.
Altaic languages	824	Arguments	Robbeets and Bouckaert (2018) use Bayesian phylolinguistic methods to argue for the coherence of the "narrow" Altaic languages (Turkic, Mongolic, and Tungusic) together with Japonic and Koreanic, which they refer to as the Transeurasian languages. Their results include the following phylogenetic tree:
Altaic languages	824	Arguments	Martine Robbeets et al. (2021) argues that early Transeurasian speakers were originally agriculturalists in Northeastern Asia, only becoming pastoralists later on.
Altaic languages	824	Arguments	The analysis conducted by Kassian et al. (2021) on a 110-item word list, specifically developed for each of the languages—Proto-Turkic, Proto-Mongolic, Proto-Tungusic, Middle Korean and Proto-Japonic— indicated support for the Altaic macrofamily. While acknowledging that considering prehistoric contacts as an alternative explanation for the results is plausible, they deem such a scenario less likely for Turkic and Japonic languages. This assessment is based on the substantial geographical distances involved, which can only be explained if a mutual relationship is assumed.
Altaic languages	824	Arguments	According to G. Clauson (1956), G. Doerfer (1963), and A. Shcherbak (1963), many of the typological features of the supposed Altaic languages, particularly agglutinative strongly suffixing morphology and subject–object–verb (SOV) word order, often occur together in languages.
Altaic languages	824	Arguments	Those critics also argued that the words and features shared by Turkic, Mongolic, and Tungusic languages were for the most part borrowings and that the rest could be attributed to chance resemblances. They noted that there was little vocabulary shared by Turkic and Tungusic languages, though more shared with Mongolic languages. They reasoned that, if all three families had a common ancestor, we should expect losses to happen at random, and not only at the geographical margins of the family; and that the observed pattern is consistent with borrowing.
Altaic languages	824	Arguments	According to C. Schönig (2003), after accounting for areal effects, the shared lexicon that could have a common genetic origin was reduced to a small number of monosyllabic lexical roots, including the personal pronouns and a few other deictic and auxiliary items, whose sharing could be explained in other ways; not the kind of sharing expected in cases of genetic relationship.
Altaic languages	824	Arguments	Instead of a common genetic origin, Clauson, Doerfer, and Shcherbak proposed (in 1956–1966) that Turkic, Mongolic, and Tungusic languages form a Sprachbund: a set of languages with similarities due to convergence through intensive borrowing and long contact, rather than common origin.
Altaic languages	824	Arguments	Asya Pereltsvaig further observed in 2011 that, in general, genetically related languages and families tend to diverge over time: the earlier forms are more similar than modern forms. However, she claims that an analysis of the earliest written records of Mongolic and Turkic languages shows the opposite, suggesting that they do not share a common traceable ancestor, but rather have become more similar through language contact and areal effects.
Altaic languages	824	Hypothesis about the original homeland	The prehistory of the peoples speaking the "Altaic" languages is largely unknown. Whereas for certain other language families, such as the speakers of Indo-European, Uralic, and Austronesian, it is possible to frame substantial hypotheses, in the case of the proposed Altaic family much remains to be done.
Altaic languages	824	Hypothesis about the original homeland	Some scholars have hypothesised a possible Uralic and Altaic homeland in the Central Asian steppes.
Altaic languages	824	Hypothesis about the original homeland	Chaubey and van Driem propose that the dispersal of ancient Altaic language communities is reflected by the early Holocene dissemination of haplogroup C2 (M217): "If the paternal lineage C2 (M217) is correlated with Altaic linguistic affinity, as appears to be the case for Turkic, Mongolic and Tungusic, then Japanese is no Father Tongue, and neither is Korean. This Y-chromosomal haplogroup accounts for 11% of Korean paternal lineages, and the frequency of the lineage is even more reduced in Japan. Yet this molecular marker may still be a tracer for the introduction of Altaic language to the archipelago, where the paternal lineage has persisted, albeit in a frequency of just 6%."
Altaic languages	824	Hypothesis about the original homeland	According to Juha Janhunen, the ancestral languages of Turkic, Mongolic, Tungusic, Korean, and Japanese were spoken in a relatively small area comprising present-day North Korea, Southern Manchuria, and Southeastern Mongolia. However Janhunen is sceptical about an affiliation of Japanese to Altaic, while András Róna-Tas remarked that a relationship between Altaic and Japanese, if it ever existed, must be more remote than the relationship of any two of the Indo-European languages. Ramsey stated that "the genetic relationship between Korean and Japanese, if it in fact exists, is probably more complex and distant than we can imagine on the basis of our present state of knowledge".
Altaic languages	824	Hypothesis about the original homeland	Supporters of the Altaic hypothesis formerly set the date of the Proto-Altaic language at around 4000 BC, but today at around 5000 BC or 6000 BC. This would make Altaic a language family older than Indo-European (around 3000 to 4000 BC according to mainstream hypotheses) but considerably younger than Afroasiatic (c. 10,000 BC or 11,000 to 16,000 BC according to different sources).
Austrian German	825		Austrian German (German: Österreichisches Deutsch), Austrian Standard German (ASG), Standard Austrian German (Österreichisches Standarddeutsch), Austrian High German (Österreichisches Hochdeutsch), or simply just Austrian (Österreichisch), is the variety of Standard German written and spoken in Austria and South Tyrol. It has the highest sociolinguistic prestige locally, as it is the variation used in the media and for other formal situations. In less formal situations, Austrians use Bavarian and Alemannic dialects, which are traditionally spoken but rarely written in Austria. It has been standardized with the publishing of the Österreichisches Wörterbuch in 1951.
Austrian German	825	History	Austrian German has its beginning in the mid-18th century, when Empress Maria Theresa and her son Joseph II introduced compulsory schooling in 1774, and several reforms of administration in their multilingual Habsburg Empire. At the time, the written standard was Oberdeutsche Schreibsprache (Upper German written language), which was highly influenced by the Bavarian and Alemannic dialects of Austria. Another option was to create a new standard based on the Southern German dialects, as proposed by the linguist Johann Siegmund Popowitsch. Instead they decided for pragmatic reasons to adopt the already-standardized chancellery language of Saxony (Sächsische Kanzleisprache or Meißner Kanzleideutsch), which was based on the administrative language of the non-Austrian area of Meißen and Dresden. Austria High German (Hochdeutsch in Österreich, not to be confused with the Bavarian Austria German dialects) has the same geographic origin as the Swiss High German (Schweizer Hochdeutsch, not to be confused with the Alemannic Swiss German dialects).
Austrian German	825	History	The process of introducing the new written standard was led by Joseph von Sonnenfels.
Austrian German	825	History	Since 1951, the standardized form of Austrian German for official governmental use and in schools has been defined by the Österreichisches Wörterbuch ("Austrian Dictionary"), published originally at the behest of the Austrian Federal Ministry of Education, Arts and Culture (in the 1950s the "Unterrichtsministerium", under minister Felix Hurdes) with Verlag Jugend & Volk, then by the Österreichischer Bundesverlag.
Austrian German	825	Standard Austrian German	The official Austrian dictionary, Österreichisches Wörterbuch, prescribes grammatical and spelling rules that define the official language.
Austrian German	825	Standard Austrian German	Austrian delegates participated in the international working group that drafted the German spelling reform of 1996 and several conferences leading up to the reform were hosted in Vienna at the invitation of the Austrian federal government. Austria adopted it as a signatory, along with Germany, Switzerland, and Liechtenstein, of an international memorandum of understanding (Wiener Absichtserklärung) signed in Vienna in 1996.
Austrian German	825	Standard Austrian German	The eszett or "sharp s" (ß) is used in Austria, as in Germany but unlike in Switzerland.
Austrian German	825	Standard Austrian German	Distinctions in vocabulary persist, for example, in culinary terms, for which communication with Germans is frequently difficult, and administrative and legal language because of Austria's exclusion from the development of a German nation-state in the late 19th century and its manifold particular traditions. A comprehensive collection of Austrian-German legal, administrative and economic terms is offered in Markhardt, Heidemarie: Wörterbuch der österreichischen Rechts-, Wirtschafts- und Verwaltungsterminologie (Peter Lang, 2006).
Austrian German	825	Standard Austrian German	Because of German's pluricentric nature, German dialects in Austria should not be confused with the variety of Standard Austrian German spoken by most Austrians, which is distinct from that of Germany or Switzerland. In the field of German dialectology, the notion of Standard Austrian German has been both debated and defended by German linguists since the 1970s. A One Standard German Axiom, effectively preventing the development of newer standards of German, has recently been offered as a characteristic of the field.
Austrian German	825	Standard Austrian German	Until 1918, the spoken standard in Austria was the Schönbrunner Deutsch, a sociolect spoken by the imperial Habsburg family and the nobility of Austria-Hungary. The sociolect, a variety of Standard German, is influenced by Viennese German and other Austro-Bavarian dialects spoken in eastern Austria but is slightly nasalized.

Alfred Hitchcock

808

Filmmaking

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 were 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.

Alfred Hitchcock

808

Filmmaking

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 authoritarian 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. Some examples include the microfilm in North by Northwest and the stolen $40,000 in Psycho.

Alfred Hitchcock

808

Filmmaking

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).

Alfred Hitchcock

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Filmmaking

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."

Alfred Hitchcock

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Filmmaking

The victims in The Lodger are all blondes. In The 39 Steps, Madeleine Carroll is put in handcuffs. Ingrid Bergman, whom Hitchcock directed three times (Spellbound, Notorious, and Under Capricorn), is dark blonde. In Rear Window, Lisa (Grace Kelly) risks her life by breaking into Lars Thorwald's apartment. In To Catch a Thief, Francie (also Kelly) offers to help a man she believes is a burglar. In Vertigo and North by Northwest respectively, Kim Novak and Eva Marie Saint play the blonde heroines. In Psycho, Janet Leigh's character steals $40,000 and is murdered by Norman Bates, a reclusive psychopath. Tippi Hedren, a blonde, appears to be the focus of the attacks in The Birds. In Marnie, the title character, again played by Hedren, is a thief. In Topaz, French actresses Dany Robin as Stafford's wife and Claude Jade as Stafford's daughter are blonde heroines, the mistress was played by brunette Karin Dor. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes.

Alfred Hitchcock

808

Filmmaking

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).

Alfred Hitchcock

808

Filmmaking

I told her that my idea of a good actor or good actress is someone who can do nothing very well. ... I said, "That's one of the things you've got to learn to have ... authority." Out of authority comes control and out of control you get the range ... Whether you do little acting, a lot of acting in a given scene. You know exactly where you're going. And these were the first things that she had to know. Emotion comes later and the control of the voice comes later. But, within herself, she had to learn authority first and foremost because out of authority comes timing.

Alfred Hitchcock

808

Filmmaking

— Alfred Hitchcock (1967)

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

808

Filmmaking

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.'"

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

808

Filmmaking

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."

Alfred Hitchcock

808

Filmmaking

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:

Alfred Hitchcock

808

Filmmaking

Once the screenplay is finished, I'd just as soon not make the film at all. All the fun is over. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score. It's melancholy to shoot a picture. When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception.

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

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Filmmaking

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.

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

808

Filmmaking

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.

Alfred Hitchcock

808

Legacy

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. 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. In 2002, Hitchcock was ranked second in the critics' top ten poll and fifth in the directors' top ten poll in the list of "The Greatest Directors of All Time" compiled by Sight & Sound. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 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.

Alfred Hitchcock

808

Legacy

He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award 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).

Alfred Hitchcock

808

Legacy

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.

Alfred Hitchcock

808

Legacy

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. The Alfred Hitchcock Papers are housed at 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.

Alfred Hitchcock

808

Filmography

Silent films

Alfred Hitchcock

808

Filmography

Sound films

Alfred Hitchcock

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Notes and sources

Biographies (chronological)

Alfred Hitchcock

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Notes and sources

Miscellaneous

Alfred Hitchcock

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External links

Anaconda

809

Anacondas or water boas are a group of large snakes of the genus Eunectes. They are found in tropical South America. Four species are currently recognized.

Anaconda

809

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.

Anaconda

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Etymology

The South American names anacauchoa and anacaona were suggested in an account by Peter Martyr d'Anghiera, but 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 Synopsis Methodica Animalium (1693) as serpens indicus bubalinus anacandaia zeylonibus, ides bubalorum aliorumque jumentorum membra conterens. Ray used a catalogue of snakes from the Leyden museum supplied by Dr. Tancred Robinson, but 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 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 that described a 'tiger' being crushed to death by an anaconda, when there actually never were any tigers in Sri Lanka. Yule and Frank Wall noted that the snake was in fact a python and suggested a Tamil origin anai-kondra meaning elephant killer. A Sinhalese origin was also suggested by Donald Ferguson who pointed out that the word Henakandaya (hena lightning/large and kanda 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.

Anaconda

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Etymology

The name commonly used for the anaconda in Brazil is sucuri, sucuriju or sucuriuba.

Anaconda

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Species and other uses of the term "anaconda"

The term "anaconda" has been used to refer to:

Altaic languages

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Altaic (/ælˈteɪ.ɪk/) is a controversial proposed language family that would include the Turkic, Mongolic and Tungusic language families and possibly also the Japonic and Koreanic languages. The hypothetical language family has long been rejected by most comparative linguists, although it continues to be supported by a small but stable scholarly minority. Speakers of the constituent languages are currently scattered over most of Asia north of 35° N and in some eastern parts of Europe, extending in longitude from the Balkan Peninsula to Japan. The group is named after the Altai mountain range in the center of Asia.

Altaic languages

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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 be 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.

Altaic languages

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The continued use of the term "Altaic" to refer to the various iterations of an Altaic theory, the "Altaic sprachbund" and infrequently as a general term for the region has resulted in confusion around the status of the Altaic hypothesis, with the end result being many Altaicists adopting the name "Transeurasian" for modifications of the family proposal to avoid confusion. This confusion is compounded by literature which refers to Altaic as an accepted hypothesis, which historically was the case.

Altaic languages

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Altaic has maintained a limited degree of scholarly support, in contrast to some other early macrofamily proposals. Continued research on Altaic is still being undertaken by a core group of academic linguists, but their research has not found wider support. In particular it has support from the Institute of Linguistics of the Russian Academy of Sciences and remains influential as a substratum of Turanism, where a hypothetical common linguistic ancestor has been used in part as a basis for a multiethnic nationalist movement.

Altaic languages

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Earliest attestations

The earliest attested expressions in Proto-Turkic are recorded in various Chinese sources. Anna Dybo identifies in Shizi (330 BCE) and the Book of Han (111 CE) several dozen Proto-Turkic exotisms in Chinese Han transcriptions. Lanhai Wei and Hui Li reconstruct the name of the Xiōngnú ruling house as PT *Alayundluğ /alajuntˈluγ/ 'piebald horse clan.'

Altaic languages

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Earliest attestations

The earliest known texts in a Turkic language are the Orkhon inscriptions, 720–735 AD. They were deciphered in 1893 by the Danish linguist Vilhelm Thomsen in a scholarly race with his rival, the German–Russian linguist Wilhelm Radloff. However, Radloff was the first to publish the inscriptions.

Altaic languages

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Earliest attestations

The first Tungusic language to be attested is Jurchen, the language of the ancestors of the Manchus. A writing system for it was devised in 1119 AD and an inscription using this system is known from 1185 (see List of Jurchen inscriptions).

Altaic languages

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Earliest attestations

The earliest Mongolic language of which we have written evidence is known as Middle Mongol. It is first attested by an inscription dated to 1224 or 1225 AD, the Stele of Yisüngge, and by the Secret History of the Mongols, written in 1228 (see Mongolic languages). The earliest Para-Mongolic text is the Memorial for Yelü Yanning, written in the Khitan large script and dated to 986 AD. However, the Inscription of Hüis Tolgoi, discovered in 1975 and analysed as being in an early form of Mongolic, has been dated to 604–620 AD. The Bugut inscription dates back to 584 AD.

Altaic languages

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Earliest attestations

Japanese is first attested in the form of names contained in a few short inscriptions in Classical Chinese from the 5th century AD, such as found on the Inariyama Sword. The first substantial text in Japanese, however, is the Kojiki, which dates from 712 AD. It is followed by the Nihon shoki, completed in 720, and then by the Man'yōshū, which dates from c. 771–785, but includes material that is from about 400 years earlier.

Altaic languages

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Earliest attestations

The most important text for the study of early Korean is the Hyangga, a collection of 25 poems, of which some go back to the Three Kingdoms period (57 BC–668 AD), but are preserved in an orthography that only goes back to the 9th century AD. Korean is copiously attested from the mid-15th century on in the phonetically precise Hangul system of writing.

Altaic languages

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