1. Theodore Strauss, “The Fact Is Quicker Than the Lie,” New York Times, 12 April 1942,
2. Charles Mercer, “Credible — Incredible,” Baltimore Sun, 7 October 1956, A21.
3. John D. Weaver, “The Man behind the Body,” Holiday 36, no. 3 (September 1964): 86.
4. For an unrivaled analysis of television’s domestic viewing fabric in the postwar pe-
riod, see Lynn Spigel, Make Room for tv: Television and the Family Ideal in Postwar America (Chi-
cago: University of Chicago Press, 1992). See also the excellent analysis of a somewhat
later mediascape in David Morley, Home Territories: Media, Mobility and Identity (London:
5. Leonard Lyons reported one of Hitchcock’s earliest comments along this line, in
an exchange with George Raft. Leonard Lyons, “The New Yorker,” Washington Post, 26 July
6. John Belton, “Hitchcock and the Classical Paradigm,” in David Boyd and R. Bar-
ton Palmer, eds., After Hitchcock: Influence, Imitation, and Intertextuality (Austin: University of
Texas Press, 2006), 237.
7. For an excellent account of Winchell’s career, see Neal Gabler, Winchell: Gossip, Power
and the Culture of Celebrity (New York: Knopf, 1994). See also Jeﬀrey Lyons, Stories My Father
Told Me: Notes from the “Lyons Den” (New York: Abbeville, 2011); Jennifer Frost, Hedda Hopper’s
Hollywood (New York: New York University Press, 2011); Samantha Barbas, The First Lady
of Hollywood: A Biography of Louella Parsons (Berkeley: University of California Press, 2006).
Concerning the journalistic agenda for Time and Life, see Alan Brinkley, The Publisher: Henry
Luce and His American Century (New York: Knopf, 2010).
8. Weaver, “The Man behind the Body,” 86.
9. Memo dictated by Selznick to Mr. Rawson, 26 October 1943, Legal Series, box 901,
folder 7, “Consolidated Files 1936 – 1954 Hitchcock, Alfred,” David O. Selznick Collection,
Harry Ransom Center, University of Texas at Austin.
10. Walter Winchell, “Ingrid Bergman’s Romance with Italian Is Favorite Hollywood-
Broadway Topic,” syndicated in, for example, St. Petersburg Times, 30 April 1949, 12. The