Silent and Sound Hitchcock Double Bill: The Lodger and Blackmail
Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound.
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This online film studies course explores two key Hitchcock films from the early stages of his career. In the first of these, The Lodger(1927), we will note the director's interest in 'pure cinema', a form of cinematic storytelling achieved, primarily, through editing and montage, and that while Hitchcock had already begun to explore these areas, it was the coupling of this with a particular narrative form and genre - the suspense film - that gave rise to his authorial style and, later, his status as the 'master of suspense'.
In the second film, Blackmail (1929), we will note the development of Hitchcock's style, again in the suspense thriller, but here with the added attraction of sound. We will note that, as his first sound film, Blackmail demonstrates the director's remarkable grasp of the, then, new technology, and its potential for a broader, expressionistic use of sound rather than its use in the creation of mere realism through synchronised sound and the reproduction of dialogue (the 'talkies' as such early films were known, and which was the industry norm). We will also be considering both films against the backdrop of the British film industry in the late 1920s and Hitchcock's position within it, progressive cinematic forms, such expressionism and montage, and their impact on the director's style, and a range of critical accounts of the films and Hitchcock's style in the 1920s.
What will we cover?
Analysis of The Lodger and Blackmail
The Hitchcock style in the 1920s
Hitchcock and popular, genre cinema in the 1920s
Hitchcock, expressionism, montage and sound
Critical accounts of The Lodger and Blackmail
The British film industry in the 1920s, including the 'minority film culture' of the period
Cinematic modernism in the 1920s, e.g., expressionism and montage
The conversion to sound
What will I achieve? By the end of this course you should be able to...
Assess The Lodger and Blackmail as key Hitchcock works of the 1920s
Evaluate The Hitchcock style in the 1920s
Evaluate the relationship between Hitchcock and popular, genre cinema in the 1920s
Evaluate Hitchcock's use of expressionism, montage and sound
Evaluate a range of Critical accounts of The Lodger and Blackmail
Describe and assess The British film industry in the 1920s, including the 'minority film culture' of the period
Describe and evaluate cinematic modernism in the 1920s
Describe the conversion to sound in British cinema
What level is the course and do I need any particular skills?
The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film. The course will provide an introduction to the subject but will also be useful for those wishing to build on existing knowledge in the subject area.
How will I be taught, and will there be any work outside the class?
Screenings of extracts from films, talks by the tutor, reading materials, small and large group discussions. It might also be a good idea to see what you can find out about the subject in advance of the class but this is not essential.
Are there any other costs? Is there anything I need to bring?
You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts. The tutor will show extracts from films and you do not have to obtain them.
When I've finished, what course can I do next?
Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.
Jon Wisbey teaches film at City Lit and Morley College. He was for many years a committee member and vice-chair of Chelmsford Film Club, screening contemporary and classic world cinema releases. He has an MA in Film Studies from the University of East Anglia. His teaching focuses on classical and post-classical Hollywood, European cinema, British cinema, film noir and horror cinema.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/silent-and-sound-hitchcock-double-bill-the-lodger-and-blackmail2629677Silent and Sound Hitchcock Double Bill: The Lodger and Blackmailhttps://www.citylit.ac.uk/media/catalog/category/50-films-HF004-1024.jpg6969GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Film studies/Introductory & general/Courses/Culture, history & humanities/Film studies/Courses/Online courses228511771548158017311228511771580<p text-align:start="">Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound. </p>002629452Silent and Sound Hitchcock Double Bill: The Lodger and Blackmail6969https://www.citylit.ac.uk/media/catalog/category/50-films-HF004-1024.jpgInStockDaytimeSatOnlineAvailable courses1 to 4 weeksWeekend2026-05-30T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allMay 2026Culture, history & humanitiesHF3026969Silent and Sound Hitchcock Double Bill: The Lodger and Blackmail554569Jon Wisbeysilent-and-sound-hitchcock-double-bill-the-lodger-and-blackmail/hf302-2526<p text-align:start="">Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound. </p>0000-Available|2026-05-30 00:00:00<p>This online film studies course explores two key Hitchcock films from the early stages of his career. In the first of these, The Lodger(1927), we will note the director's interest in 'pure cinema', a form of cinematic storytelling achieved, primarily, through editing and montage, and that while Hitchcock had already begun to explore these areas, it was the coupling of this with a particular narrative form and genre - the suspense film - that gave rise to his authorial style and, later, his status as the 'master of suspense'.</p><p>In the second film, Blackmail (1929), we will note the development of Hitchcock's style, again in the suspense thriller, but here with the added attraction of sound. We will note that, as his first sound film, Blackmail demonstrates the director's remarkable grasp of the, then, new technology, and its potential for a broader, expressionistic use of sound rather than its use in the creation of mere realism through synchronised sound and the reproduction of dialogue (the 'talkies' as such early films were known, and which was the industry norm). We will also be considering both films against the backdrop of the British film industry in the late 1920s and Hitchcock's position within it, progressive cinematic forms, such expressionism and montage, and their impact on the director's style, and a range of critical accounts of the films and Hitchcock's style in the 1920s.</p><p text-align:start="">Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound. </p><ul><li>Analysis of The Lodger and Blackmail</li><li>The Hitchcock style in the 1920s</li><li>Hitchcock and popular, genre cinema in the 1920s</li><li>Hitchcock, expressionism, montage and sound</li><li>Critical accounts of The Lodger and Blackmail</li><li>The British film industry in the 1920s, including the 'minority film culture' of the period</li><li>Cinematic modernism in the 1920s, e.g., expressionism and montage</li><li>The conversion to sound</li></ul><ul><li>Assess The Lodger and Blackmail as key Hitchcock works of the 1920s</li><li>Evaluate The Hitchcock style in the 1920s</li><li>Evaluate the relationship between Hitchcock and popular, genre cinema in the 1920s</li><li>Evaluate Hitchcock's use of expressionism, montage and sound</li><li>Evaluate a range of Critical accounts of The Lodger and Blackmail</li><li>Describe and assess The British film industry in the 1920s, including the 'minority film culture' of the period</li><li>Describe and evaluate cinematic modernism in the 1920s</li><li>Describe the conversion to sound in British cinema</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film. The course will provide an introduction to the subject but will also be useful for those wishing to build on existing knowledge in the subject area.</p><p>Screenings of extracts from films, talks by the tutor, reading materials, small and large group discussions. It might also be a good idea to see what you can find out about the subject in advance of the class but this is not essential.</p><p>You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts. The tutor will show extracts from films and you do not have to obtain them.</p><p>Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalvirtual556945HF302NONESat30/05/26 - 06/06/2610:30 - 13:0010:3013:002 sessions (over 2 weeks)21 to 4 weeksDaytimeWeekendOnlineOnlineJon WisbeyBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-05-30T00:00:00+00:00May 2026Culture, history & humanities6969Silent and Sound Hitchcock Double Bill: The Lodger and Blackmailsilent-and-sound-hitchcock-double-bill-the-lodger-and-blackmail/hf302-2526<p text-align:start="">Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound. </p>0000-Available|2026-05-30 00:00:00<p>This online film studies course explores two key Hitchcock films from the early stages of his career. In the first of these, The Lodger(1927), we will note the director's interest in 'pure cinema', a form of cinematic storytelling achieved, primarily, through editing and montage, and that while Hitchcock had already begun to explore these areas, it was the coupling of this with a particular narrative form and genre - the suspense film - that gave rise to his authorial style and, later, his status as the 'master of suspense'.</p><p>In the second film, Blackmail (1929), we will note the development of Hitchcock's style, again in the suspense thriller, but here with the added attraction of sound. We will note that, as his first sound film, Blackmail demonstrates the director's remarkable grasp of the, then, new technology, and its potential for a broader, expressionistic use of sound rather than its use in the creation of mere realism through synchronised sound and the reproduction of dialogue (the 'talkies' as such early films were known, and which was the industry norm). We will also be considering both films against the backdrop of the British film industry in the late 1920s and Hitchcock's position within it, progressive cinematic forms, such expressionism and montage, and their impact on the director's style, and a range of critical accounts of the films and Hitchcock's style in the 1920s.</p><p text-align:start="">Already a director of note, the critical reception of The Lodger and Blackmail saw Hitchcock recognised as a major filmmaker, one whose style was best demonstrated in the suspense film, the cinematic form with which he would subsequently always be associated. Explore two key early works from the 'master of suspense', their striking use of montage and, in one, a bold to approach to sound. </p><ul><li>Analysis of The Lodger and Blackmail</li><li>The Hitchcock style in the 1920s</li><li>Hitchcock and popular, genre cinema in the 1920s</li><li>Hitchcock, expressionism, montage and sound</li><li>Critical accounts of The Lodger and Blackmail</li><li>The British film industry in the 1920s, including the 'minority film culture' of the period</li><li>Cinematic modernism in the 1920s, e.g., expressionism and montage</li><li>The conversion to sound</li></ul><ul><li>Assess The Lodger and Blackmail as key Hitchcock works of the 1920s</li><li>Evaluate The Hitchcock style in the 1920s</li><li>Evaluate the relationship between Hitchcock and popular, genre cinema in the 1920s</li><li>Evaluate Hitchcock's use of expressionism, montage and sound</li><li>Evaluate a range of Critical accounts of The Lodger and Blackmail</li><li>Describe and assess The British film industry in the 1920s, including the 'minority film culture' of the period</li><li>Describe and evaluate cinematic modernism in the 1920s</li><li>Describe the conversion to sound in British cinema</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film. The course will provide an introduction to the subject but will also be useful for those wishing to build on existing knowledge in the subject area.</p><p>Screenings of extracts from films, talks by the tutor, reading materials, small and large group discussions. It might also be a good idea to see what you can find out about the subject in advance of the class but this is not essential.</p><p>You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts. The tutor will show extracts from films and you do not have to obtain them.</p><p>Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalconfigurable
15481580Introductory & generalhttps://www.citylit.ac.uk/courses/humanities/film-studies/introductory-general1/2/285/1177/1580/15481/Courses/Culture, history & humanities/Film studies/Introductory & general
