Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films

  • Claudia Bullerjahn


With Blackmail (1929), Alfred Hitchcock ended his silent-film period and simultaneously opened up the field of sound film in Great Britain. Yet as far as the use of music and sound are concerned, the two versions of Blackmail (the silent one and the sound version) are similar, though not identical. It is Hitchcock’s specific sound aesthetics which paves the way for British film as well as for his own development as a filmmaker. A comparison between Blackmail and the first American sound film, The Jazz Singer (1927), reveals the ways in which Hitchcock continues to apply silent-film conventions whilst at the same time going beyond them.

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Copyright information

© The Author(s) 2017

Authors and Affiliations

  • Claudia Bullerjahn
    • 1
  1. 1.Justus-Liebig-Universität GießenGießenGermany

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